IC-NRLF 


SEWING 

HANDICRAFT  FOR  GIRLS 


M?  GLAUFLIN 


I  i/O 


SEWING 


HANDICRAFT   FOR  GIRLS 


A  GRADED  COURSE  FOR  CITY  AND 
RURAL  SCHOOLS 


Prepared  by 
IDABELLE  MCGLAUFLIN 

Supervisor  of  Girls'  Handwork  in  the  Denver  Public  Schools 


Published  by 

THE  MANUAL  ARTS  PRESS 

PEORIA,  ILLINOIS 


\7l 


COPYRIGHT 

IDABELLE  MCGLAUFLIN 
1910,    1918 

REVISED  EDITION 
EDUCATION  DEPTH. 


EXPLANATORY  NOTE 

The  exercises  in  this  five-year  course  are  based 
upon  an  estimated  time  of  one  hour  per  week  in 
the  first  two  years,  and  one  and  one-half  hours  in 
the  last  three,  the  school  year  consisting  of 
thirty-eight  weeks. 

Every  exercise  in  handicraft  should  train  the 
judgment,  the  eye  or  the  memory  and  tend  to 
develop  skill,  patience,  accuracy,  perseverance, 
dexterity  or  artistic  appreciation. 

Experience  has  taught  that  the  bringing  of 
materials  for  the  use  of  sewing  classes  from  the 
various  homes  of  the  rich  and  the  poor,  the 
thrifty  and  the  shiftless,  the  clean  and  the  un- 
tidy has  resulted  unsatisfactorily.  The  success 
of  any  sewing  course  depends  largely  upon  the 
use  of  proper  and  uniform  materials.  In  most 
cities  all  materials,  with  the  exception  of  those 
used  for  the  full-sized  garments,  will  be  furnished 
by  the  board  of  education.  School  boards  or 
teachers,  so  desiring,  can  obtain  complete  sets  of 
materials  for  this  course  from  the  author.  (See 
advertisement  at  the  end  of  the  book.) 


CONTENTS. 
CHAPTER  I. — SUGGESTIONS  TO  TEACHERS 7 

General    Directions    for    Pupils    of  Sewing   Classes.     Drills 
for  Beginners. 

CHAPTER  II. — COURSE  OF  INSTRUCTION 11 

First  Year — Third  Grade.    Detailed  Description  of  Exercises. 

CHAPTER  III.— COURSE  OF  INSTRUCTION 20 

Second  Year — Fourth  Grade.   Detailed  Description  of  Exercises. 

CHAPTER  IV.— COURSE  OF  INSTRUCTION 28 

Third  Year — Fifth  Grade.     Detailed  Description  of  Exercises. 

CHAPTER  V. — COURSE  OF  INSTRUCTION 41 

Fourth  Year — Sixth  Grade.    Detailed  Description  of  Exercises. 

CHAPTER  VI.— COURSE  OF  INSTRUCTION 53 

Fifth  Year — Seventh  Grade.    Detailed  Description  of  Exercises. 

CHAPTER  VII.— DESCRIPTION  OF  STITCHES 65 

Stitches    Used    in    Plain    Sewing.     Ornamental    Stitches.     Mis- 
cellaneous. 

CHAPTER  VIIL— TEXTILE  FIBERS  AND  FABRICS 96 

Silk.   Cotton.   Flax.  Wool. 

CHAPTER  IX.— COSTUME 105 

Dress    and    Its    Relation    to  Art.     Character   and    Clothing. 
Economy  and  Dress.     Discriminating  Taste  in  Dress. 

CHAPTER  X.— BASKETRY 108 

General   Directions   for  making  the  Coil   Basket.     The  Sewed 
Baskets. 


CHAPTER  I. 

SUGGESTIONS  TO  TEACHERS. 

The  teacher's  preparation  for  the  lesson  consists  in  doing  each 
exercise  before  presenting  the  lesson  to  the  class.  It  will  take  some 
time  to  do  so,  but  it  will  save  hours  of  time  and  much  worry  in  the 
end,  and  the  teacher  will  thus  discover  how  best  to  present  the 
difficult  points  of  the  lesson.  A  well  finished  piece  gives  to  the  child 
a  complete  mental  picture  of  what  she  is  undertaking,  and  acts  as 
an  inspiration;  she  will  work  quicker,  easier,  and  better  because  of  it. 
This  impulse  and  a  clear  demonstration  of  the  method  of  doing,  will 
enable  her  to  work  far  more  independently  of  the  teacher  than  would 
otherwise  be  possible,  and  will  give  more  satisfactory  results.  Con- 
sider the  year's  work  as  a  connected  whole,  not  as  detached  lessons. 

What  are  designated  as  "electives"  in  this  book  are  designed  to 
meet  the  needs  of  classes  or  individuals  doing  the  work  a  second  time 
or  of  teachers  who  find  the  regular  work  too  difficult. 

Large  classes  can  be  handled  with  less  wasted  energy  by  dividing 
the  class  into  groups  that  are  doing  the  same  work.  This  saves  end- 
less repetition  and  enables  the  teacher  to  give  better  general  super- 
vision. This  is  the  most  vulnerable  point  in  class  work.  A  teacher 
may  work  laboriously  and  still  waste  her  own  and  the  children's 
time  by  too  close  an  adherence  to  the  individual  method  of  instruc- 
tion. Those  children  whose  turn  comes  toward  the  end  of  the  line 
will  have  lost  much  of  the  value  of  the  lesson.  Children  require 
constant  supervision.  It  is  not  teaching  to  examine  the  work  when 
finished  and  order  it  ripped  out.  The  fault  is  then  with  the  teacher 
and  not  with  the  child.  Each  successive  step  should  be  inspected 
and  corrected  before  the  next  one  is  taken.  I  would  go  still  farther 
and  have  every  pupil,  even  in  the  advanced  grades,  submit  a  sample 
of  her  work  on  every  stitch  to  be  used  in  each  exercise.  Children  are 
always  eager  to  begin  a  new  piece,  and  if  required  to  practice  until 
the  result  is  satisfactory  will  very  soon  do  good  work.  You  then 
have  this  to  refer  to  and  can  hold  them  to  their  best. 


SEWING 


There  is  absolutely  no  value  in  poor,  careless,  puttering  work. 
Unless  the  child  has  a  high  ideal  and  strives  to  reach  it,  the  time  of 
the  lesson  is  wasted.  Encourage  self-criticism.  Work  should  be 
done  to  one's  own  satisfaction  whether  it  is  to  be  seen  by  others  or 
not. 

Do  not  allow  pupils  to  take  their  work  home  unless  it  is  some 
required  practice  work.  It  is  not  the  object  to  cover  a  certain  amount 
of  ground,  but  to  inculcate  high  standards  of  excellence  and  some 
technical  skill.  They  cannot  accomplish  this  by  themselves.  I 
would  prefer  that  classes  do  not  complete  the  entire  course  rather  than 
have  good  work  sacrificed  to  quantity.  There  is  a  difference  between 
careful,  painstaking  effort,  and  the  puttering  away  of  valuable  time. 

Avoid  delay  in  distributing  supplies. 

Be  sure  that  every  member  of  the  class  understands  clearly  the 
object  of  the  lesson. 

Do  not  encourage  waste  by  a  too  liberal  supply  of  material. 

Too  much  stress  cannot  be  laid  upon  the  careful  preparation  of 
the  cloth  to  be  used.  Trim  all  edges  neatly  before  hemming,  facing, 
gathering,  etc.  Do  not  allow  children  to  sew  without  basting.  The 
time  required  for  careful  basting  is  well  spent. 

It  is  not  expected  that  the  various  pupils  of  the  class  will  advance 
with  the  same  degree  of  proficiency.  Some  will  require  a  much  longer 
time  on  an  exercise  than  others.  As  it  is  greatly  to  the  advantage 
of  the  class  in  the  end,  and  saves  time  and  tiresome  repetition  to  give 
each  new  exercise  or  stitch  as  a  class  lesson,  the  average  pupils  should 
regulate  the  time  for  taking  up  new  work.  A  teacher  of  resources 
will  find  ways  and  means  of  bringing  up  the  work  of  slow  pupils, 
and  profitable  "busy  work"  for  those  who  work  more  rapidly.  For 
the  former,  a  little  extra  time  each  day — not  as  a  punishment,  but 
as  an  opportunity  to  catch  up— would  be  all  that  is  necessary.  For 
the  latter,  there  is  a  great  variety  of  interesting,  useful  work. 

It  is  a  pedagogic  truism  that  every  teacher,  consciously  or  uncon- 
sciously, imparts  to  her  class  her  own  inclinations.  An  enthusiastic 
class  indicates  an  ardent  interest  on  the  part  of  the  teacher,  and  a 
distaste  for  work  and  a  lack  of  zeal  on  the  part  of  the  pupils  are 


8 


SUGGESTIONS  TO  TEACHERS 


equally  indicative  of  the  teacher's  attitude.  Bear  in  mind  that  an 
unprepared  teacher  or  a  poorly  presented  lesson  can  make  almost 
any  exercise  difficult  and  distasteful  to  the  class.  Do  not  blame 
pupils  for  poor  work  for  which  you  are  yourself  responsible. 


GENERAL  DIRECTIONS  FOR   PUPILS  OF 
SEWING  CLASSES. 

1.  Be  sure  thafthe  hands  are  clean. 

2.  Always  sit  erect — well  back  in  the  seat — with  the  light  coming 
over  the  left  shoulder,  both  feet  upon  the  floor,  because  the  body  will 
not  become  as  tired,  the  hand  will  not  shade  the  work  and  it  is  easier 
to  see  the  stitches.    Do  not  fasten  the  work  to  the  knee,  because  a 
stooping  position  easily  becomes  a  habit. 

3.  Place  the  thimble  upon  the  second  finger  of  the  right  hand. 
Either  the  side  or  end  of  the  thimble  can  be  used.   Never  sew  without 
one. 

4.  Measure  the  thread  either  from  shoulder  to  shoulder  or  from 
the  end  of  the  finger  to  the  elbow.   A  long  thread  becomes  soiled  and 
worn  before  being  used  up  and  is  more  liable  to  knot. 

5.  Wind  the  thread  once  around  the  forefinger  and  break  from 
the  spool,  because  the  broken  thread  twists  more  easily  to  a  point 
than  when  cut.    Cut  the  thread  from  the  work  when  finished  to  avoid 
drawing  the  stitches  or  breaking  at  the  wrong  place. 

6.  Thread  the  needle  from  the  end  that  hangs  from  the  spool. 
In  this  way  you  are  working  with  the  twist  of  the  thread  and  there 
is  less  danger  of  knotting  and  kinking. 

7.  Do  not  wet  the  thread  in  the  mouth.    Roll  the  end  of  the 
thread  between  the  thumb  and   forefinger  and   place  through  the 
eye  of  the  needle. 

8.  To  tie  a  knot  wind  the  thread  around  the  forefinger  once  and 
a  little  over,  and  twist  by  rubbing  the  finger  down  the  side  of  the 
thumb.   With  the  nail  of  the  second  finger  bring  the  knot  thus  formed 
to  the  end  of  the  thread. 


SEWING 


9.    Hold  the  unfinished  work  in  the  left  hand. 

10.  Do  not  bite  the  threads. 

11.  Trim  the  selvedge,  as  it  is  hard  to  sew  through  and  draws 
up  when  washed. 

12.  The  knot  is  always  buried  except  in  the  basting  which  is  to 
be  removed. 

DRILLS  FOR   BEGINNERS. 

DRILL  1.    Threading    the    needle    with    cotton.     Needle    No.    8; 
colored  thread. 

a.  Prepare  the  cotton  by  twisting  between  thumb  and  forefinger. 

b.  Place  the  thread  in  the  eye  of  the  needle. 

c.  Draw  the  thread  through  with  the  right  hand. 
DRILL  2.     Making  the  knot. 

a.  Hold  the  needle  in  the  right  hand  and  the  end  of  the  thread 
in  the  left. 

b.  Wind  the  thread   around  the  forefinger  once  and   a  little 
over,  and  twist  the  threads  together  by  rubbing  the  finger 
down  the  side  of  the  thumb.    Do  not  accept  careless  knots. 

DRILL  3.     Use  of  the  thimble. 

a.  Push  the  needle  with  the  thimble. 

b.  Push  the  needle  back  with  the  finger  of  the  left  hand. 
Never  allow  a  pupil  to  sew  without  a  thimble. 

DRILL  4.    Threading  the  yarn  needle. 

a.  Prepare  the  yarn  by  loosening  the  end  with  the  needle. 

b.  Place  the  yarn  over  the  point  of  the  needle  and  draw  into  a 
smooth  loop. 

c.  Draw  the  needle  out  and  thread  into  the  loop. 

Needles  No.  10  will  carry thread  No.  100  90  80 

Needles  No.    9  will  carry thread  No.    90  80  70     60 

Needles  No.    8  will  carry thread  No.    70  60  50     40 

Needles  No.    7  will  carry thread  No.    50  40  30     20 

Needles  No.    6  will  carry thread  No.    20  10 

Needles  No.    5  will  carry Linen  thread — Luster  cotton. 


10 


CHAPTER  II. 
COURSE  OF  INSTRUCTION. 

FIRST  YEAR — THIRD  GRADE. 
EQUIPMENT. 

Sewing  box  or  Envelope  Case. 

Pin  cushion — 20  pins. 

Thimble. 

Needles. 

Scissors. 

Thread  cards. 

Practice  Piece — Unbleached  muslin,  9"x6". 

ORDER  OF  EXERCISES. 

Prepare  Thread  Cards — Cardboard  4"x4",  designed  and  cut  for 
four  kinds  of  thread. 

Exercise  No.  1 — Basting  Design. 

Exercise  No.  2 — Running  Design  No.  1. 

Exercise  No.  3 — Overhanding  on  Practice  Piece. 

Exercise  No.  4 — Pincushion — Cross  stitch — Christmas  Piece. t 

Exercise  No.  5 — Running  Design — No.  2. 

Exercise  No.  6 — Overhanding — Running  Designs  1  and  2  together. 

Exercise  No.  7 — Running  Design  No.  3.* 

Exercise  No.  8 — Hemming  a  Towel. { 

Exercise  No.  9 — Running  Design  No.  4.* 

Exercise  No.  10 — Overhanding — Running  Designs  3  and  4  to- 
gether. Overhanding  Nos.  1  and  2  to  3  and  4.* 

f  *  t   See  Electives,  page  17. 


11 


SEWING 


NO.  4. 


NO.  2. 


NO.  1. 


NO.  3. 


CHILDREN    IN    NATIVE    COSTUME. 
SUGGESTIVE    DESIGNS    IN    OUTLINE    FOR   THE    RUNNING    STITCH 


12 


COURSE          OF          INSTRUCTION 


DETAILED  DESCRIPTION  OF  EXERCISES. 

Teach:     One  inch,  one-half  inch,  one-fourth  inch. 
Practice:     "  Drills  for  Beginners,"  page  10. 


EXERCISE  No.  1  —  BASTING. 

Materials:  Unbleached  muslin  5"  x  8"  stamped  with  the  three 
basting  stitches,  No.  1,  page  67;  colored  thread  No.  50;  needle  No.  6. 

Make  pupils  perfectly  familiar  with  the  name  and  use  of  this  stitch. 
See  description  of  "Stitches  Used  in  Plain  Sewing,"  page  66. 

Beginning  at  the  right  hand  follow  the  lines  of  the  design  with  the 
thread,  placing  the  knots  over  the  dots  on  the  right  hand  side  and 
fastening  over  the  dots  at  the  left.  Under  each  stamped  row  of 
stitches  put  in  one,  two,  three  or  more  rows,  depending  upon  the 
rapidity  with  which  each  individual  works.  This  will  help  to  keep  the 
class  uniform. 

EXERCISE  No.  2  —  RUNNING. 

Materials:  Stamped  running  design  No.  1,  page  12.  Unbleached 
muslin  6"  x  8";  colored  thread  No.  50;  needle  No.  6. 

Make  pupils  perfectly  familiar  with  the  name  and  use  of  this  stitch. 
See  description  of  "Stitches  Used  in  Plain  Sewing,"  page  66. 

The  object  of  this  model  is  to  give  the  pupils  practice  in  the  running 
stitch.  These  designs  are  more  interesting  than  practicing  on  plain 
cloth,  so  if  the  work  is  not  satisfactory,  cut  the  knot,  pull  out  the 
thread,  and  try  again.  Give  special  attention  to  the  knots  and  the 
fastening  of  the  threads  and  the  general  neatness  of  the  work.  Place 
the  knot  on  the  wrong  side  and  follow  the  lines  of  the  design  with  the 
running  stitch. 

EXERCISE  No.  3  —  OVERHANDING. 

Materials:     Practice  piece;   colored  thread  No.  50;   needle  No.  6. 
Teach   the  Overhanding  Stitch  on  the  Practice   Piece.      See  de- 
scription of  "Stitches  Used  in  Plain  Sewing,"  page  66.     Change  the 

13 


SEWING 


color  of  the  thread  once  or  twice  and  teach  the  joining  of  the  thread. 
Baste  two  folded  edges  together  and  insist  upon  neat,  careful  work. 

EXERCISE  No.  4  —  CROSS  STITCH  PIN  CUSHION  —  Christmas  Piece. t 

Materials:  Unbleached  muslin  4>i"  x  8";  luster  cotton;  crewel 
needle  No.  6;  thread  No.  50;  needle  No.  6;  cotton  poplin  4>^"  x  8K" 
stamped  with  cross-stitch  design  (or  a  square  of  Penelope  canvas 
4"  x  4"  may  be  basted  on  and  the  design  worked  out  on  this  and  the 
canvas  threads  pulled  out).  See  illustration  on  page  36. 

Make  the  cushion  of  the  muslin  and  stuff  rather  hard  with  fine 
sawdust. 

Work  the  cross-stitch  design. 

Turn  to  the  wrong  side  one-fourth  inch  all  the  way  around,  and  baste. 

Fold  through  the  center  the  short  way,  wrong  sides  together,  baste 
and  overhand  the  sides.  Draw  the  cover  over  the  cushion  and  over- 
hand the  remaining  side.  Finish  the  edge  with  a  cross-stitch,  chain- 
stitch,  or  twisted  cord. 

EXERCISE  No.  5  —  RUNNING. 

Materials:  Running  design  No.  2,  page  12,  1"  x  8";  colored  thread 
No.  50;  needle  No.  6. 

Follow  the  lines  of  the  design  with  the  running  stitch. 

EXERCISE  No.  6  —  OVERHANDING. 

Materials:     White  thread  No.  50;   needle  No.  6. 
Running  designs  No.  1  and  No.  2  are  to  be  overhanded  together. 
Turn  a  quarter-inch  fold  on  the  long  side  of  both  pieces.     Base  the 
folded  edges  together  and  overhand. 

EXERCISE  No.  7  —  RUNNING.* 

Materials:  Running  design  No.  3,  page  12,  6"  x  8";  colored  thread 
No.  50;  needle  No.  6. 

Follow  the  lines  of  the  design  with  the  running  stitch. 


14 


COURSE          OF          INSTRUCTION 

EXERCISE  No.  8  —  HEMMING  —  PAPER  FOLDING  FOR  A  HEM. 

Materials:     Paper  4><"  x  1". 

Fold  the  long  way  of  the  paper.  First  fold  of  the  hem,  one-fourth 
of  an  inch.  Turn  half  an  inch  hem  on  one  side  and  an  inch  hem  on  the 
other.  Have  each  child  cut  from  a  card  a  gauge  for  measuring  the 
hems  and  insist  that  the  hems  be  turned  evenly. 

Teach  the  hemming  stitch  on  the  Practice  Piece  with  colored  thread. 
Trim  the  edge  neatly,  fold  the  hem  accurately  and  baste  in  place. 
Bad  habits,  that  are  hard  to  correct  later,  can  so  easily  be  formed 
in  making  this  stitch  that  I  wish  to  caution  teachers  in  regard  to  the 
position  of  the  needle  in  relation  to  the  hem,  the  amount  of  cloth  taken 
on  the  needle  and  the  tendency  toward  making  the  blind  stitch  or  the 
damask  hem  instead  of  the  plain  hemming  stitch. 

HEMMING  A  TowEL.t 

Materials:  Crash,  9"  woof,  6"  warp;  white  thread  No.  50;  needle 
No.  6;  tape  4>^  inches. 

Turn  one-fourth  inch  fold  on  each  side  and  across  the  bottom  and 
baste.  Turn  the  second  fold  one-fourth  of  an  inch  on  the  sides  and 
baste.  Hem  the  sides.  Turn  an  inch  hem  at  the  bottom,  baste  and 
hem,  giving  special  attention  to  the  corners  where  the  bottom  hem  is 
turned  over  the  side  hems.  Hem  the  top  with  a  quarter-inch  hem  if 
there  is  no  selvedge.  Sew  a  loop  in  the  middle  of  the  top  on  the  sel- 
vedge edge  as  follows:  Turn  in  one-fourth  of  an  inch  at  both  ends  of 
the  tape.  Place  the  ends  of  the  tape  side  by  side  and  down  one-fourth 
of  an  inch  from  the  edge  of  the  towel.  Hem  around  the  ends  of  the 
tape  and  back-stitch  across  the  tape  just  at  the  edge  of  the  towel. 

EXERCISE  No.  9 —  RUNNING.* 

Materials:  Running  design  No.  4,  page  12,  6"  x  8";  colored  thread 
No.  50;  needle  No.  6. 

Follow  the  lines  of  the  design  with  the  running  stitch. 


15 


SEWING 


EXERCISE  No.  10  —  OVERHANDING.* 

Materials:  Quilt  lining,  unbleached  muslin  12"  x  16";  white  thread 
No.  50;  needle  No.  6. 


DOLL  S    QUILT 


Running  designs  No.  3  and  No.  4  are  to  be  overhanded  together. 
Turn  a  quarter-inch  fold  on  the  long  sides  of  both  pieces.  Baste  the 
folded  edges  together  and  overhand.  Running  designs  Nos.  1  and  2 
are  to  be  overhanded  to  3  and  4.  Turn  a  quarter-inch  fold  at  the 


16 


COURSE          OF          INSTRUCTION 

top  of  one  piece  and  the  bottom  of  the  other,  baste  the  folded  edges 
together  and  overhand.  Baste  the  lining  to  the  quilt,  turn  in  the 
edges  and  overhand.  Tack. 

ELECTIVES. 

flnstead  of  the  pincushion  a  Child's  Picture  Book  may  be  substi- 
tuted. 

*Running  designs  No.  3  and  No.  4  may  be  omitted  and  the  Child's 
Picture  Book  substituted.  If  this  is  done  make  a  doll's  pillow  of 
running  designs  No.  1  and  No.  2  by  turning  in  one-fourth  inch  all 
the  way  around  both  pieces  and  overhanding  them  together.  Stuff 
with  cotton  or  with  scraps  of  cloth  cut  to  finger-nail  size. 

{Instead  of  the  small  towel  encourage  children  to  ask  their  mothers 
for  a  dish  towel  which  they  can  bring  from  home  to  hem.  Some 
housekeeper  of  the  neighborhood  may  be  glad  to  have  her  dish- 
towels  hemmed  for  her  by  the  class. 


17 


SEWING 


A  CHILD'S  PICTURE  BOOK. 

Materials:  Pink,  blue  or  yellow  paper  cambric  27  inches;  coarse 
thread;  coarse  needle;  bright,  pretty  pictures  which  the  children  have 
cut  from  papers,  magazines,  cards,  etc.;  paste. 


CHILD  S    PICTURE    BOOK 


Fold  the  cloth  through  the  center  with  the  warp  and  cut  on  the  fold. 
Fold  both  strips  into  three  equal  pieces  with  the  woof,  and  cut.  Fold 
each  piece  through  the  center  parallel  to  the  selvedge.  Place  two 
pieces  together  and  pin  at  the  fold,  and  "pink"  through  the  four 


18 


COURSE          OF          INSTRUCTION 

thicknesses,  around  the  edges  with  a  "pinking  iron."  Do  the  same 
with  the  other  pieces.  When  finished  place  them  all  together  and 
stitch  at  the  fold  as  follows: 

1.  Mark  three  holes  on  the  fold  with  the  needle,  one  in  the 
middle  and  one  two  inches  above  it,  and  another  two  inches 
below  it. 

2.  Tie  a  large  knot  two  inches  from  the  end  of  the  thread. 

3.  Insert  the  needle  at  the  lowest  hole,  from  the  inside,  and 
draw  it  through  leaving  two  inches  of  the  thread  to  tie. 

4.  Pass  over  the  middle  hole  and  down  through  the  upper  one, 
out  through  the  middle  hole  on  one  side  of  the  long  thread,  and 
back  through  the  same  hole  on  the  other  side  of  the  thread,  and 
tie  the  two  ends  of  the  thread  together. 

Paste  a  pretty  card  or  large  picture  on  the  outside  for  the  cover. 
Page  the  book  with  neat  figures  and  write  the  name  of  the  child  for 
whom  the  book  is  designed  on  the  inside  of  the  cover.  Arrange  and 
paste  in  the  pictures  neatly. 


19 


CHAPTER   III. 
COURSE  OF  INSTRUCTION. 

SECOND  YEAR  —  FOURTH  GRADE. 
EQUIPMENT. 

Sewing  box  or  envelope  case. 
Pin  cushion  —  20  pins. 
Thimble. 
Needles. 
.    Scissors. 
Thread  cards. 
Practice  Piece  —  Unbleached  muslin  9"  x  12". 

ORDER  OF  EXERCISES. 

Prepare  Thread  Cards  —  Cardboard  4"  x  4",  designed  and  cut  for 
four  kinds  of  thread. 

Exercise  No.  11  —  Seam  Sampler —  Seam  A  —  Combination  Stitch. 

Exercise  No.  12  —  Emery  Balls.* 

Exercise  No.  13  —  Seam  Sampler  —  Seam  B  —  Stitching. 

Exercise  No.  14  —  A  Bag  —  Christmas  Piece. t 

Exercise  No.  15  —  Seam  Sampler  —  Seam  C  —  Half-Back  Stitching. 

Exercise  No.  16  —  A  Doll's  Sofa  Pillow. 

Exercise  No.  17  —  Seam  Sampler  —  Seam  D  —  French  Seam. 

Exercise  No.  18  —  A  Pair  of  Doll's  Pillow  Cases. § 

Exercise  No.  19  —  Seam  Sampler  —  Seam  E  —  French  Fell. 

Exercise  No.  20  —  Textile  Fibers  and  Fabrics  —  Silk. 

*  t  §  See  Electives,  page  26. 


20 


COURSE          OF          INSTRUCTION 


DETAILED  DESCRIPTION  OF  EXERCISES. 

Review:     One  inch,  one-half  inch,  one-fourth  inch. 

Teach:     One-eighth  inch,  three-eighths  inch,  seven-eighths  inch. 

SEAM    SAMPLER. 

Materials:  Plain  percale  10"  warp,  12"  woof;  white  thread  No. 
60;  needle  No.  6. 

Five  exercises  of  the  Second  Year  Sewing  will  consist  of  seam  work 
on  the  Seam  Sampler.  Each  stitch  will  be  first  taught  on  the  Practice 
Piece.  Make  pupils  perfectly  familiar  with  the  names  and  uses  of  the 
different  stitches  as  they  are  taught.  As  the  year's  work  progresses 
compare  the  different  seams  and  teach  when,  where  and  why  these 
various  seams  are  used  in  garment  making.  See  description  of 
"Seams,"  page  90.  That  the  pupils  may  not  lose  interest  in  their 
sewing  the  seam  work  is  alternated  with  miscellaneous  exercises. 

Fold  the  percale  with  the  warp  into  three  equal  pieces.  Cut  off  one 
piece.  Have  each  pupil  label  her  large  piece  with  her  name.  Col- 
lect and  put  them  away  until  ready  for  Seam  B.  Do  not  leave  them 
in  the  boxes  or  they  will  be  lost,  or  soiled  with  too  much  handling. 

EXERCISE  No.  11  —  SEAM  A  —  COMBINATION  STITCH. 

See  description  of  "Seam  Sampler"  given  above. 

Materials:     First  section  of  Seam  Sampler. 

Fold  with  the  warp  through  the  center,  and  cut  on  the  fold.  Baste 
these  two  edges  together  one-fourth  of  an  inch  from  the  edge.  Sew7 
with  the  Combination  Stitch  three-eighths  of  an  inch  from  the  edge. 

EXERCISE  No.  12  —  EMERY  BALLS.* 


Materials:     Unbleached  muslin,  6>^"  x  6><";  red  cashmere 

(this  amount  provides  for  four);  thread,  yellow,  white  and  red; 
emery  powder;  needles  No.  6  and  No.  3;  green  luster  cotton. 

To  cut  the  pattern  of  the  strawberry  emery  ball  :  Draw  a  circle  three 
inches  in  radius,  and  cut  on  the  line. 


21 


SEWING 


Cut  a  circle  from  the  unbleached  muslin  for  the  lining  and  one  a 
quarter  of  an  inch  larger  from  the  cashmere  for  the  outside;  cut  both 
into  quarters. 

To  make  the  case:  Fold  the  two  edges  of  the  muslin  together  and 
sew  in  a  seam  with  the  combination  stitch,  rounding  the  point  to  give 


THE    COMPLETED    SEAM    SAMPLER    ILLUSTRATING    EXERCISES 
NOS.    11,    13,    15,    17,    AND    19. 


the  strawberry  shape.  Turn  in  a  good  seam  at  the  top  and  gather. 
Fill  with  the  powdered  emery  and  fasten  the  gathering  thread  by 
overhanding  over  the  top. 

Before   sewing   up   the   outside  put  in  the    stitches,  with  yellow 
thread,  to  represent  the  seeds  of  the  strawberry  as  follows:   Hold  the 


22 


COURSE          OF          INSTRUCTION 


wrong  side  of  the  cloth  toward  you  and  put  in  a  row  of  tiny  stitches 
half  an  inch  apart.  One-fourth  of  an  inch  above  these  put  in  another 
row  with  the  stitches  midway  between  those  of  the  last  row,  and  so 
continue.  If  desired  these  may  be  omitted  and  the  seeds  represented 
by  French  knots  when  the  strawberry  is  finished. 

Seam  up  the  outside,  slip  it  over  the  case,  arranging  the  seams  on 
opposite  sides  to  avoid  the  possibility  of  powder  sifting  through. 
Overhand  the  top  and  cover  with  the  green  luster  cotton  to  represent 
the  calyx,  leaving  a  loop  for  the  stem. 

EXERCISE  No.  13  —  SEAM  B  —  STITCHING. 

Materials:     Second  section  of  Seam  Sampler. 

Fold  with  the  warp  through  the  center  and  cut  on  the  fold.  Baste 
these  two  edges  together  one-fourth  of  an  inch  from  the  edge.  Stitch 
three-eighths  of  an  inch  from  the  edge. 

EXERCISE  No.  14  —  CHRISTMAS  PIECE  —  A  HEART  SHAPED  BAG.f 

Materials:     Silkoline  14"  x  18";   tape,  2  yards. 

Turn  and  baste  a  one-fourth-inch  fold  all  the  way  around  the  cloth. 
Crease  and  baste  an  inch  hem  at  both  ends.  With  right  sides  together 
fold  the  bag  with  the  two  hems  together  to  find  the  exact  bottom  of 
the  bag  and  place  pins  on  the  seam  to  mark  this.  Instead  of  sewing 
up  the  seams  as  in  making  a  straight  bag,  pin  the  bottom  of  the  bag 
at  the  seam  to  the  edge  of  the  hem,  and  fasten  very  securely.  Then 
overhand  the  edges  of  the  sides  together  in  the  two  folds.  Put  in 
two  lines  of  running  stitches  for  the  two  tape  casings;  run  in  the  two 
tapes,  1  yard  each,  bringing  them  out  at  opposite  sides  for  the  double 
draw  strings. 

EXERCISE  No.  15  —  HALF-BACK  STITCHING. 

Materials:     First  and  second  sections  of  the  Seam  Sampler. 
Baste  the  two  sections  together  one-fourth  of  an  inch  from  the  edge. 
Sew  with  the  half-back  stitch  three-eighths  of  an  inch  from  the  edge. 

23 


SEWING 


BAGS  WITH  ORIGINAL  DESIGNS  IN  CROSS  STITCH  MADE  BY  FOURTH  GRADE  CHILDREN 


24 


COURSE          OF          INSTRUCTION 


EXERCISE  No.  16  —  A  DOLL'S  SOFA  PILLOW. 


Materials:  Cotton  poplin  6"  x  11^'";  Kerr's  twist,  B;  crewel 
needle;  thread  No.  60;  needle  No.  6. 

Work  the  design  in  the  running  stitch  with  the  twist.  Turn  a  quarter- 
inch  all  the  way  around  to  the  wrong  side  and  baste.  Fold  right  sides 
together  the  short  way  through  the  center  and  baste.  Overhand  the 
edges,  leaving  a  small  opening  for  filling  with  scraps  of  cloth  cut  into 
bits,  finger-nail  size,  or  the  cotton  of  milkweed  pods.  Overhand  the 
opening. 

EXERCISE  No.  17  —  FRENCH  SEAM. 

Materials:     Third  section  of  the  Seam  Sampler. 
Fold  with  the  warp  through  the  center  and  cut  on  the  fold.     Follow 
the  directions  for  the  French  Seam. 

EXERCISE  No.  18  —  A  PAIR  OF  DOLL'S  PILLOW  CASES.  § 

Materials:  Two  pieces  bleached  muslin  lyt"  warp,  8^"  woof; 
white  thread  No.  60;  needle  No.  6. 

In  a  pillow  case  the  warp  threads  should  run  lengthwise  of  the  pillow. 
Crease  a  quarter-inch  fold  across  one  end  and  on  both  sides.  Fold  with 
the  warp  through  the  center  so  that  the  seam  just  turned  comes  on  the 
inside,  baste  the  folded  edges  together  on  the  right  side.  Overhand  on 
the  right  side,  using  no  knot,  but  sewing  over  the  end  of  the  thread. 
Turn  a  three-quarter  inch  hem,  baste  and  hem.  Trim  the  seam  and 
overcast. 

EXERCISE  No.  19  —  FRENCH  FELL. 

Materials:     Seam  Sampler. 

Sew  Section  Three  of  the  Seam  Sampler  to  the  others  with  the 
French  Fell.  Follow  directions  for  the  French  Fell. 

EXERCISE  No.  20  —  TEXTILE  FIBERS  AND  FABRICS  —  SILK. 

Under  the  heading  "Textile  Fibers  and  Fabrics,"  page  96,  will  be 
found  subject  matter  which  can  be  used  in  correlation  with  the  geog- 


25 


SEWING 


raphy,  language  and  history  work.  The  fourth  grade  subject  is  silk. 
Secure  if  possible  the  silk  cocoon  and  make  a  collection  of  silk  fabrics. 
Language  papers  on  the  subject  can  be  illustrated  with  pictures  cut 
from  papers  and  magazines. 

ELECTIVES. 

A  DOLL'S  RAG  RUG.* 
This  May  Be  Used  Instead  of  the  Emery  Ball. 


Materials:    Carpet  warp,  6  yards;  large  wooden  needle;  a  loom. 

To  make  the  loom:  Take  a  smooth  inch  board  7"xl2";  draw  lines 
across  the  board  one  inch  from  both  ends;  draw  lines  down  both 
sides  one-half  inch  from  the  edge,  connecting  the  end  lines.  Drive 


26 


COURSE          OF          INSTRUCTION 


in  brads  or  wire  nails  with  small  heads  three-eighths  of  an  inch 
apart  all  the  way  around  the  oblong  formed  by  the  lines. 

To  weave  the  rug:  Each  girl  will  cut  or  tear  her  own  carpet  rags 
from  discarded  garments,  etc.,  brought  from  home.  These  must  be 
fresh  and  clean.  Cut  into  strips  from  one-half  to  one  inch  wide 
that  will  thread  into  the  needle.  To  sew  the  rags  together  lap  one 
over  the  other  about  an  inch,  and  fold  the  long  way  through  the 
center  once;  back-stitch  several  times  through  the  four  thicknesses, 
making  each  strip  about  two  yards  long.  Wind  the  warp  on  the  nails 
as  tight  as  possible;  weave  the  rags  over  and  under  the  warp  threads. 
Stripes  across  the  ends  will  add  to  the  childern's  interest.  Teach 
warp,  wroof  and  selvage. 

fA  bag  ornamented  with  the  cross-stitch  may  be  made  instead 
of  the  silkoline  bag. 

§One  pillow-case  may  be  omitted  and  a  pillowr  for  the  other  case 
made  instead.  This  will  be  stuffed  with  crumpled  bits  of  tissue  paper. 


27 


CHAPTER  IV. 
COURSE  OF  INSTRUCTION, 

THIRD  YEAR — FIFTH  GRADE, 
EQUIPMENT. 

Sewing  box  or  envelope  case. 

Pin  cushion — 30  pins. 

Thimble. 

Needles. 

Scissors. 

Thread  cards. 

Practice  Piece— Unbleached  muslin  9"xl2". 

ORDER  or  EXERCISES. 

Prepare  Thread  Cards— Cardboard  4"x4"  designed  and  cut  for  four 
:inds  of  thread. 

Exercise  No.  21 — Patching  Sampler  — Hemmed  Patch. 
Exercise  No.  22 — A  Doll's  Kimona. 
Exercise  No.  23 — Patching  Sampler — Overhand  Patch. 
Exercise  No.  24 — Basketry  —  Christmas  Piece.* 
Exercise  No.  25 — A  Garment  Brought  from  Home  to  be  Repaired, 
Exercise  No.  26 — Mitered  Corner.! 
Exercise  No.  27 — Napkin — Damask  Hem. 
Exercise  No.  28 — A  Pair  of  Sleeve  Protectors. f 
Exercise  No.  29 — A  Pin  Cushion. 
Exercise  No.  30 — Textile  Fibers  and  Fabrics  —  Cotton. 

*  |  t  See  Electives,  page  37. 


28 


COURSE          OF          INSTRUCTION 

DETAILED  DESCRIPTION  OF  EXERCISES. 

Review  the  divisions  of  the  inch. 

PATCHING  SAMPLER. 

Materials:  Gingham  8"  warp,  13"  woof;  white  thread  No.  70; 
needle  No.  7. 

It  is  desirable  that  each  girl  cut  the  two  patches  and  the  two  pieces 
to  be  patched  from  the  same  piece  of  cloth  that  there  may  be  no 
difficulty  in  matching  the  pattern  when  patching  or  when  later 
sewing  the  two  patched  pieces  together. 

Fold  the  piece  of  gingham,  eight  inches  by  thirteen  inches,  with 
the  warp  into  three  sections,  two  of  them  eight  inches  warp- by  five 
inches  woof,  and  the  third  eight  inches  warp  by  three  inches  woof. 
Fold  the  three-inch  piece  across  the  warp  in  the  center  for  the  two 
patches.  Cut  on  the  creases.  Pin  one  patch  to  one  of  the  large  pieces, 
label  with  the  girl's  name  and  put  it  away  for  Exercise  No.  23. 

EXERCISE  No.  21 — HEMMED  PATCH. 

Materials:    First  section  of  Patching  Sampler. 

The  hemmed  patch  is  the  strongest  and  the  one  most  commonly 
used  for  repairing  garments.  The  patch  will  not  be  noticeable  if  the 
pattern  is  skilfully  matched.  When  matching  stripes  or  plaids  always 
tarn  on  the  line  where  the  color  changes,  never  through  the  middle 
of  a  stripe.  Ten  minutes  spent  on  a  paper  pattern  will  prevent  the 
mistakes  beginners  usually  make  in  this  exercise. 

Trim  the  patch  and  crease  a  quarter-inch  fold  on  the  four  sides. 
In  the  large  piece  cut  a  hole  in  the  center,  found  by  folding,  and 
place  the  patch  over  this.  Baste  around  it,  matching  pattern  care- 
fully. 

Do  not  allow  pupils  to  go  any  farther  until  the  patch  is  basted  on 
exactly  right.  Turn  to  the  right  side  and  cut  out  the  part  supposed 
to  be  worn  by  the  following  successive  steps: 


29 


SEWING 


1.  Measure  one-half  inch  (or  as  near  it  as  the  pattern  will  per- 
mit) from  the  edge  of  the  patch,  using  pins  for  marking  the 
line  where  it  is  to  be  cut. 

2.  Cut  out  the  center,  leaving  about  one-half  inch  extending 
over  the  patch. 

3.  Clip  the  coiners  diagonally  the  exact  width  of  the  fold  to  be 
turned  in.   Take  great  care  and  do  not  cut  in  too  far,  as  this 
will  spoil  the  patch. 

4.  Turn  in  the  edge,  baste  and  hem. 

5.  Hem  the  patch  on  the  wrong  side. 

EXERCISE  No.  22—  A  DOLL'S  KIMONA. 


Materials:  Outing  flannel  lOy^xl^:  luster  cotton;  white  thread; 
needle  No.  7;  crewel  needle;  pattern. 

N.  B.  The  kimona  may  be  cut  in  one  piece  with  under-arm  seams 
or  in  two  pieces  with  an  additional  seam  in  the  back. 

The  following  are  the  successive  steps  for  making  the  kimona: 

1.  Pin  the  pattern  to  the  cloth  and  cut  around  it. 

2.  Baste  the  seams;  backstitch  the  seams  one-fourth  inch  from 
the  edge;  clip  the  seams  three  times  at  the  turn  under  the  arm. 

3.  Open  the  seams  and  baste  flat  to  the  cloth. 

4.  Finish  the  seams  with  a  fine  herringbone  stitch. 

5.  Turn  in  to  the  wrong  side  one-eighth  inch  around  the  kimona; 
baste. 

6.  Practice  the  blanket  stitch  over  a  folded  edge  before  doing 
it  on  the  edge  of  the  kimona  with  the  luster  cotton. 

An  alternating  long  and  short  stitch  makes  an  attractive  edge,  or 
the  stitches  may  be  placed  in  groups  of  three  or  five. 

EXERCISE  No.  23  —  OVERHAND  PATCH. 

Materials:    Second  section  of  the  Patching  Sampler. 

The  overhand  patch  is  used  on  very  thin  material,  such  as  lawn, 
dimity  or  organdy,  where  strength  is  not  required  and  where  the  two 
thicknesses  of  cloth  around  the  edge  of  the  hemmed  patch  would  be 


30 


COURSE          OF  INSTRUCTION 

too  noticeable.  The  pattern  should  be  as  carefully  matched  as  in  the 
hemmed  patch  and  equal  care  given  to  the  corners.  A  paper  pattern 
will  assist  beginners. 


r 

(O 

1 


•K-H 
xj/ 


4< 


5HQ-R.T  TOLD 


T.-/TS 

>c 


t 


PATTERN    OF   DOLL  S    KIMONA 


Fold  the  large  piece  of  gingham  with  the  four  corners  together  and 
clip  off  the  point  from  the  center.  The  following  are  the  successive 
steps  for  making  the  overhand  patch: 


31 


SEWING 


1.  Measure  on  each  side  of  the  center,  with  the  warp,  one  and 
one-fourth  inches  and  with  the  woof  three-fourths  of  an 
inch.    Mark  with  pins. 

2.  Cut  out  the  oblong  at  these  points  (or  as  near  as  the  pat- 
tern permits,  observing  also  the  pattern  of  the  patch  to  be 
used). 

3.  Clip  the  corners  diagonally  the  exact  width  of  the  fold  to 
be  turned  in. 

4.  Turn  in  the  fold  on  the  four  sides  of  the  hole. 

5.  Crease  the  folds  on  the  four  sides  of  the  patch  so  that  it 
will  fit  exactly  into  the  hole,  matching  patterns. 

6.  Beginning  near  the  middle  of  one  side  overhand  the  patch 
in,  matching  as  you  overhand.    Do  not  baste. 

The  two  patched  pieces  are  to  be  overhanded  together.  Turn  a 
quarter-inch  fold  on  each  with  the  warp,  matching  the  pattern,  baste 
together  and  overhand. 

Teach  the  Overcasting  on  the  Practice  Piece  and  overcast  all  raw 
edges  on  the  Patching  Sampler,  with  a  stitch  one-eighth  of  an  inch 
deep  and  one-fourth  of  an  inch  apart. 

EXERCISE  No.  24 — BASKETRY — CHRISTMAS  PIECE.* 

This  subject  has  such  limitless  possibilities  and  its  success  or  failure 
rests  so  entirely  with  the  teacher  that  it  will  be  necessary  for  each 
teacher  to  prepare  herself  to  teach  it  and  decide  upon  the  style,  size 
and  general  character  of  the  design  of  the  baskets  to  be  made  by  her 
class,  allowing  the  pupils  as  far  as  passible  to  work  out  their  individual 
tastes. 

See  chapter  on  "  Basketry,"  page  108. 

EXERCISE  No.  25 — A  GARMENT  BROUGHT  FROM  HOME  TO  BE 

MENDED. 

Ask  every  pupil  to  bring  some  article  from  home,  in  preference,  a 
garment  to  be  mended.  There  is  no  home  that  cannot  furnish  a 


32 


COURSE 


O    F 


INSTRUCTION 


garment   that   needs   repairing.     This   is   a   practical   application   of 
Exercises  21  or  23  and  is  a  valuable  experience  for  the  children. 

EXERCISE  No.  26 — MITERED  CORNER.J 

Materials:    Paper. 

Teach  the  mitered  corner  on  paper  only.    Have  it  done  over  and 
over  until  every  pupil  understands  how  it  is  done,  and  can  do  it  alone, 


THE    MITERED    CORNER. 


rapidly  and  perfectly.  Ask  pupils  to  bring  paper  from  home,  as  al- 
most any  kind  will  do  for  this  practice  work.  Have  it  made  in  hems 
of  several  widths.  See  description  of  "Miscellaneous"  exercises, 


of  several   widths, 
page  82 


33 


SEWING 


EXERCISE  No.  27 — A  NAPKIN — DAMASK  HEM. 

Materials:  Damask  8X"x8X";  white  thread  No.  60;  needle 
No.  7. 

Trim  the  napkin  square.  Napkins  are  usually  hemmed  with  a  very 
narrow  hem,  luncheon  napkins  sometimes  with  wide  ones. 

The  Damask  Hem:  Fold  the  hem  the  desired  width  (on  this  small 
napkin  one-half  inch)  and  then  turn  the  hem  back  flat  to  the  cloth 
and  crease.  The  edge  of  the  hem  and  the  crease  thus  formed  are 
overhanded  together  with  fine  even  stitches.  When  laundered 
this  irons  perfectly  smooth.  This  method  of  hemming  is  used  only 
on  cloth  too  heavy  to  flat  hem  nicely. 

EXERCISE  No.  28 — A  PAIR  OF  SLEEVE  PROTECTORS.! 

Materials:  Cotton  twill  8><"xll";  tape  36";  ribbon  elastic  4"; 
white  thread  No.  70;  needle  No.  7. 

To  cut  the  pattern  of  a  sleeve  protector:  Cut  an  oblong  eight  inches 
by  ten  and  one-half  inches.  Fold  through  the  center  the  long  way. 
Mark  the  top  of  the  folded  edge  A,  the  bottom  B,  the  upper  right  hand 
corner  C  and  the  lower  D.  Measure  down  on  the  folded  edge  from 
A  four  inches  and  mark  E.  Measure  down  from  C  four  inches  and 
mark  F.  Measure  up  from  D  five  inches  and  mark  G.  Measure  on 
the  line  B  D  three  and  one-fourth  inches  from  B  and  mark  H.  Con- 
nect G  and  H  with  a  straight  line.  With  E  as  the  center  and  E  A 
as  the  radius  draw  a  quarter  of  a  circle  connecting  A  and  F.  Cut 
on  the  lines  H  G,  and  A  F. 

Cut  the  sleeve  protectors  from  the  pattern.  Beginning  at  the 
center  of  the  bottom  and  holding  the  wrong  side  of  the  cloth  next  to 
you,  baste  the  edge  of  the  sleeve  protector  to  the  line  running  through 
the  middle  of  the  tape.  Make  a  tiny  pleat  in  the  tape  at  each  corner 
so  that  when  doubled  over  it  will  round  the  corners  smoothly.  Join 
the  ends  of  the  tape  by  folding  back  both  ends  and  overhanding 
them  together  on  the  wrong  side.  Hem  the  tape  down  on  the  right 
side.  Before  basting  the  tape  down  on  the  wrong  side,  fasten  the  elas- 
tic in  place  on  one  side  of  the  sleeve  protector.  The  elastic  is  in  two 

34 


COURSE          OF          INSTRUCTION 


pieces,  two  inches  in  length.  Place  the  first  piece  one  inch  from  the 
bottom  and  the  second  piece  three  inches  above  the  first.  Baste  the 
tape  down  on  the  wrong  side  and  hem,  leaving  the  opening  for  the 
other  end  of  the  elastic,  which  is  fastened  in  place  after  the  hemming 
is  done.  Lay  the  binding  smooth  over  the  elastic  and  stitch  along  the 
edge  of  the  tape,  through  the  elastic,  to  hold  in  place. 

EXERCISE  No.  29 — A  PIN  CUSHION — COUCHING  AND  LAZY-DAISY 

STITCH. 

Materials:    Cover,   poplin,   stamped;   muslin  for  cushion;  »crewel 
needle;  coarse  colored  thread;  embroidery  cotton. 
Proceed  by  the  following  steps: 
To  make  the  cushion: 

1.  Fold  through  the  center  the  short  way  and  backstitch 
the  side  seams;  turn  in  one-fourth  inch  at  the  open  end 
and  baste. 

2.  Fill  full  and  hard  with  fine  sawdust;  overhand  the  end. 
To  embroider  the  cover: 

1.  Lay  the  coarse  thread  along  the  edge,  leaving  a  half-inch 
at  the  end  for  joining  later. 

2.  Blanket  stitch  over  this  thread  held  loosely  to  the  edge, 
with  the  wyhite  embroidery    cotton,  placing  the  stitches 
a  little  less  than  an  eighth  of  an  inch  apart,  putting  the 
needle   in  at   the  top  line  and  out  at   the  bottom   line; 
work  from  left  to  right.    The  beauty  of  this  stitch  will 
depend  upon  its  regularity. 

3.  Join  the  coarse  thread  by  overlapping  a  half  inch.    Do 
not  cut  the  ends  off  blunt  but  to  a  point  so  the  place  of 
joining  will  not  show. 

4.  Cut  the  scallops  out  and  go  around  again  with  the  white 
cotton  in  the  blanket  stitch,  going  into  each  loop. 

5.  Work  the  flowers  in  blue  lazy-daisy  stitch  with  a  yellow 
French-knot  center. 

6.  Pin  the  cover  to  the  cushion  at  the  corners. 


35 


SEWING 


EXERCISE  No.  30 — TEXTILE  FIBERS  AND  FABRICS — COTTON. 

Under  the  heading  "Textile  Fibers  and  Fabrics,"  page  96,  will  be 
found  subject  matter  which  can  be  used  in  correlation  with  the 
geography,  language  and  history  work.  The  fifth  grade  subject  is 


A  GROUP  OF  SMALL  PIN  CUSHIONS  ILLUSTRATING  CROSS-STITCH  DESIGN,  AN  EMBROIDERED 
EDGE,  COUCHING   AND   A    HEM-STITCHED    COVER 


36 


COURSE          OF  INSTRUCTION 

cotton.    Many  interesting  collections  can  be  made  that  will  be  in- 
structive for  the  children. 

a.  Cotton  fabrics  with  their  names  and  uses. 

b.  Pictures. 

c.  Cotton  fiber  in  the  various  stages  of  manufacture. 

d.  Maps  upon  which  can  be  located  the  countries  producing 
cotton  and   cities  noted   for  the   manufacture  of  cotton 
cloth. 

e.  Compositions  on  cotton  and  allied  subjects. 

ELECTIVES 

*The  pin  cushion  or  a  fancy  bag  may  be  substituted  for  the  basket- 
ry and  one  of  the  other  electives  chosen  for  Exercise  No.  29. 

{A  cover  for  a  pin  cushion  affords  a  good  application  for  the 
mitered  corner.  This  can  be  made  any  size,  square  or  oblong.  Orna- 
ment with  fine  feather  stitching  and  the  star  stitch. 

fThe  case  for  ruler  and  pencils  may  be  substituted  for  tne  sleeve 
protectors. 

A  CASE  FOR  RULER  AND  PENCILS. 

Materials:  Creton,  three  pieces,  3j^  x22  ,  3^  x!3  ,  3  ^xlO  ; 
thread;  needle  No.  7. 

The  following  are  the  successive  steps: 

1.  Turn  in  one-fourth  inch  around  the  three  pieces  and  baste. 

2.  Hem  one  end  of  the  short  piece;  hem  one  end  of  the  middle 
sized  piece. 

3.  Lay  the  wrong  side  of  the  middle  sized  piece  to  the  wrong 
side  of  the  long  piece,  even  at  the  end  turned  in  only,  and 
baste  the  two  pieces  together. 

4.  Make  the  pocket  for  the  ruler,  pencil  and  eraser  the  de- 
sired size  by  backstitching. 

5.  Lay  the  wrong  side  of  the  short  piece  to  the  right  side  of 
the  middle  sized  piece  even  at  the  same  end  and  baste. 

37 


SEWING 


6.  Overhand  the  three  pieces  together,  taking  care  to  fasten 
securely  at  the  top  of  the  pockets. 

7.  Fold  the  flap  on  the  long  piece  to  just  meet  the  top  of 
the  long  pocket.    Hem  it  down  at  the  end  and  overhand 
the  sides. 

8.  The  pupils  will  furnish  snaps  (2)  or  buttons  for  fastening. 

A  BOOK  COVER. 

Materials:  Grass  linen  or  Holland  15"  woof  by  10"  warp;  white 
thread  No.  70;  needles  Nos.  7  and  5;  luster  cotton. 

The  Design:  Start  several  weeks  before  the  class  is  ready  to  make 
it,  arouse  an  interest,  and  study  designs  for  book  covers.  Ask  pupils 
to  bring  from  home  books  having  good  designs  on  the  covers.  Have 
them  tell  why  they  like  certain  ones  and  do  not  favor  others.  In  a 
word,  educate  their  tastes  in  this  line  before  expecting  them  to  orig- 
inate designs.  Do  not  attempt  anything  elaborate.  Many  artistic 
effects  can  be  obtained  by  interlacing  straight  lines  and  these  have 
the  advantage  of  being  easily  worked.  Paper  cutting  is  an  excellent 
medium  for  experimenting,  if  a  unit  is  to  be  repeated  or  if  curves  are 
desired  in  the  outline.  For  example,  fold  an  oblong,  four  and  one- 
half  by  seven  inches,  through  the  center  both  ways,  and  cut  on  a 
slightly  curving  line  from  the  folded  edges  to  the  corner.  Quite  a 
variety  of  simple,  graceful  outlines  can  be  made  by  slightly  varying 
these  curves,  which,  with  a  simple  unit  repeated  around  the  center 
or  in  each  corner  makes  an  effective  design.  Have  the  finished  pat- 
tern before  starting  the  book  cover.  Trace  on  the  cloth  by  means  of 
the  carbon  paper.  It  will  be  necessary  to  crease  the  cover  over  the 
book  before  putting  on  the  design,  so  that  it  may  be  placed  just  right. 

To  Make  the  Book  Cover:  Work  the  design  with  the  outline  stitch 
before  sewing  up  the  seams.  Overcast  the  raw  edges  at  the  top  and 
bottom  of  the  cover  and  hem  with  a  quarter-inch  hem  the  two  ends 
that  fold  into  the  book.  The  raw-edged  hem,  finished  with  the 
herringbone  stitch,  could  be  used  in  place  of  the  plain  hem,  if  desired. 
Turn  in  the  top  and  bottom  of  the  cover  so  that  the  book  will  slip  in 


38 


COURSE          OF          INSTRUCTION 


easily.  Overhand  that  part  which  folds  into  the  book  to  the  outside, 
at  top  and  bottom,  thus  forming  the  pockets  into  which  the  covers 
of  the  book  slip.  Do  the  overhanding  on  the  wrong  side  and  then 
turn  it  to  the  right  side. 

A  BOOK  BAG. 

Materials:  Galatea  or  khaki  15"  woof,  13"  warp;  two  strips  for 
handles,  13"  warp  by  3"  woof;  thread  No.  40;  needle  No.  7. 

The  decoration  of  the  bag  should  be  done  before  sewing  up  the  ends. 
Very  artistic  effects  can  be  obtained  in  the  applique.  See  directions 
for  the  design  of  the  book  cover,  page  38. 

Cut  a  three-inch  strip  from  the  length  of  the  piece  for  the  end 
pieces.  Divide  this  into  two  pieces  seven  and  one-half  by  three 
inches.  Find  the  middle  of  one  end  of  both  end  pieces  and  notch 
them.  Fold  the  large  piece  with  the  warp  through  the  center  and 
notch  at  both  ends  of  the  fold.  Turn  in  a  quarter  of  an  inch  around 
the  large  piece  and  baste.  Turn  in  a  quarter  of  an  inch  across  the 
notched  end  and  sides  of  the  end  pieces.  Place  the  notch  at  the  end 
of  one  side  piece  to  one  in  the  large  piece,  right  sides  together,  and 
pin  in  place.  Overhand  on  the  wrong  side  the  two  together  across 
the  end  and  up  both  sides.  Put  in  the  other  end  piece  in  the  same 
way.  Trim  the  end  pieces  even  with  the  top  of  the  case.  Turn  a 
three-quarter  inch  hem  at  the  top.  Before  hemming  make  the  straps 
for  the  handles  by  turning  in  and  overhanding  the  edges.  Insert 
both  ends  of  one  strap  under  the  hem  of  the  right  side  of  the  bag, 
two  inches  from  the  middle  or  four  inches  apart  and  the  other  strap 
on  the  left  side.  Hem,  and  fasten  the  handles  to  the  edge  of  the  hem 
by  backstitching. 


39 


SEWING 


A   COOKING    SET,    CONSISTING    OF    AN    APRON    (EXERCISE    NO.    33),    SLEEVE    PROTECTORS 

(EXERCISE  NO.  28),  AND  A  ROUND  HOLDER  AND  CASE  (EXERCISE  NO.  38.) 


40 


CHAPTER  V. 
COURSE  OF  INSTRUCTION. 

FOURTH  YEAR — SIXTH  GRADE. 
EQUIPMENT. 

Sewing  box  or  envelope  case. 

Pin  cushion — 30  pins. 

Thimble. 

Needles. 

Scissors. 

Thread  cards. 

Practice  Piece — Unbleached  muslin  9"xl2". 

Use  No.  80  thread  for  machine  work. 

ORDER  or  EXERCISES. 

Prepare    Thread    Cards — Cardboard    4"x4"— designed    and    cut 
for  four  kinds  of  thread. 

Exercise  No.  31 — Stocking  Darning. 

Exercise  No.  32 — A  Machine  Practice  Piece. 

Exercise  No.  33 — An  Apron — Christmas  Piece.* 

Exercise  No.  34 — A  Lesson  in  Color. 

Exercise  No.  35 — Buttonholes. 

Exercise  No.  36 — A  Trial  Piece  for  the  Back  of  a  Petticoat. 

Exercise  No.  37 — A  Hemstitched  Handkerchief,  f 

Exercise  No.  38 — A  Round  Holder  and  Case. 

Exercise  No.  39 — A  Petticoat  or  Princess  Slip. 

Exercise  No.  40 — Textile  Fibers  and  Fabrics — Flax. 

*fSee  Electives,  page  49. 


41 


SEWING 


DETAILED  DESCRIPTION  OF  EXERCISES. 

Teach  the  yard  measure  and  its  divisions. 
See  note  under  Exercise  No.  35 — Buttonholes 


STOCKINET    DARNING. 


EXERCISE  No.  31 — STOCKING  DARNING. 

Materials:  Stockinet  4"x4";  cardboard  3"x3";  darning  cotton  in 
two  colors;  darning  needle;  a  pair  of  worn  stockings. 

See  description  of  Stocking  Darning,  page  71. 

Pupils  will  furnish  their  own  cardboard  and  have  it  cut  and  ready 
for  the  lesson,  also  a  pair  of  worn  stockings. 

The  cardboard  is  a  substitute  for  the  darning  ball.  Do  not  stretch 
the  cloth  too  tightly  over  the  card,  nor  put  in  a  needless  number  of 
stitches  at  the  back  to  hold  it  on,  five  or  six  being  sufficient  to  hold 


42 


COURSE          OF          INSTRUCTION 

it  temporarily  in  place.  The  darning  cotton  winds  from  the  spool 
in  several  strands  loosely  twisted  together.  Separate  and  use  two, 
three  or  more  strands,  depending  upon  the  texture  of  the  cloth  to  be 
darned.  Take  care  not  to  split  the  threads  when  weaving  across  them, 
and  also  avoid  putting  the  threads  so  far  apart  that  holes  are  left 
between  them.  In  fact,  try  to  have  pupils  understand  that  they  are 
supplying  a  piece  of  cloth  that  has  been  worn  away,  and  that  when 
finished  should  match  as  nearly  as  possible  in  color  and  texture  the 
cloth  that  is  being  repaired.  On  the  stockinet  practice  piece,  use  one 
color  of  the  thread  for  the  warp  and  the  other  for  the  woof.  Stockinet, 
like  stockings,  is  a  knitted,  not  a  woven  fabric,  and  as  every  stitch  is 
drawn  through  the  one  below  it,  it  is  very  necessary  that  the  loops  be 
caught  before  they  ravel  back.  Prepare  the  hole  for  darning  by 
whipping  the  edge  with  fine  thread,  catching  up  all  the  severed  loops. 
Either  a  round  or  an  oblong  hole  may  be  cut  in  the  stockinet,  the 
round  hole  being  three-fourths  of  an  inch  across,  and  the  oblong 
three-fourths  of  an  inch  by  one  inch. 

FollowT  the  exercise  in  stockinet  darning,  in  which  the  principles 
of  darning  have  been  taught,  with  the  darning  of  a  pair  of  worn 
stockings  that  the  pupils  have  brought  from  home.  Every  child  in 
the  class  must  be  given  this  practical  and  useful  experience.  If  there 
is  difficulty  in  securing  these  stockings,  members  of  the  class  or  the 
teacher  can  readily  supply  the  deficiency. 

EXERCISE  No.  32  —  A  MACHINE  PRACTICE  PIECE. 


Materials:    Striped  calico  1  yard  warp,  by  6^  inches  woof. 

Begin  machine  practice  by  drawing  lines  on  paper  and  stitching 
to  these  lines  without  thread  in  the  needle. 

The  object  of  this  piece  is  to  teach  the  use  of  the  sewing  machine 
before  beginning  a  garment.  Insist  that  pupils  practice  at  home. 
At  the  teacher's  discretion  they  may  also  do  the  straight  stitching 
on  the  machine  practice  piece  at  home,  a  yard  or  two  each  day, 
bringing  it  for  the  teacher's  inspection  daily.  There  are  five  problems 
on  this  piece: 


43 


SEWING 


(a)  Straight  Stitching. 

Begin  one  inch  from  the  end  of  each  stripe  and  stop  short  of  the 
end  one  inch.  Stitch  also  between  stripes  once,  twice  or  as  many 
times  as  the  teacher  thinks  necessary  for  perfecting  the  pupils' 
stitching. 

(b)  Tying  Threads. 

Draw  the  ends  of  the  thread  through  to  the  wrong  side,  tie  and 
clip. 

(c)  French  Seam.     See  page  91. 

Cut  the  long  piece  into  three  equal  pieces  across  the  short  way. 
Sew  two  pieces  together  lengthwise  with  the  French  seam  by  the 
following  steps: 

1,  Baste;  2,  Stitch  first  seam  one-eighth  of  an  inch;  3,  Trim;  4, 
Crease  in  seam  and  fold;  5,  Baste  through  the  four  thicknesses;  6, 
Stitch  second  seam  not  to  exceed  one-fourth  of  an  inch;  narrower  is 
better. 

(d)  French  Fell.     See  page  91. 

Join  the  third  piece  to  the  above  with  the  French  fell. 

(e)  Stitching  Straight  on  the  Edge  of  a  Hem. 

Turn  an  inch  hem  at  one  side,  with  the  seams,  baste  and  stitch 
just  along  the  edge.  Turn  a  quarter-inch  hem  on  the  opposite  side, 
and  stitch. 

EXERCISE  No.  33 — AN  APRON — THE  CHRISTMAS  PIECE* 

Materials:  Pupils  will  select  and  furnish  their  own  materials  for 
an  apron.  This  may  be  of  any  style  or  kind,  and  will  afford  an 
excellent  opportunity  for  carrying  out  their  individual  tastes.  This 
may  necessitate  the  teaching  of  the  principles  of  bands  which  can  be 
done  with  the  practice  piece.  See  description  of  Bands,  page  82. 

If  the  school  is  provided  with  a  sewing  machine  and  the  machine 
practice  piece  has  been  satisfactorily  finished  the  apron  may  be  a 
machine-made  garment.  If  not,  there  are  many  attractive  styles  of 
small  aprons  that  can  be  made  by  hand. 


44 


COURSE          OF          INSTRUCTION 


45 


SEWING 


EXERCISE  No.  34 — A  LESSON  IN  COLOR. 

This  exercise  is  a  correlation  between  the  sewing  and  the  art  work 
of  the  class  and  is  intended  as  a  foundation  for  the  lessons  in  home 
decoration  and  the  s,tudy  of  costume  later  in  the  course. 

A  NOTE  BOOK 

Make  the  book  by  tying  together  sheets  of  ruled  paper  for  the 
text,  and  sheets  of  drawing  paper  for  the  color  charts,  etc.  The 
cover  is  designed  and  colored  as  the  individual  taste  dictates,  and 
forms  one  of  the  problems  of  this  exercise. 

Analysis  of  color — color  chart. 

a.  Primary  Colors. 

b.  Secondary  Colors. 

c.  Shades — color  with  gray  or  black. 

d.  Tints — color  with  white. 
Mixing  of  colors. 

a.  How  is  orange  obtained? 
How  is  green  obtained  ? 
How  is  brown  obtained? 

b.  Mix  tints  of  blue. 
Mix  tints  of  green. 
Mix  tints  of  orange. 

c.  Mix  shades  of  yellow. 
Mix  shades  of  brown. 
Mix  shades  of  red. 

; 

QUESTIONS 

1.  What  are  the  neutrals  in  color? 

2.  What  do  you  understand  by  harmony  in  color? 

3.  What  are  contrasts  in  color?   Give  an  example  in  nature. 

4.  What  is  it  to  be  color  blind?.   What  is  it  to  have  color  sense? 

5.  What  do  you  mean  when  you  say  a  person  has  a  refined  taste  in  color? 

6.  What  is  your  favorite  color?    Why?    Would  you  like  a  whole  dress  of  this  color? 

7.  Can  you  imagine  the  world  without  color,  no  blue  in  the  sky  or  water;  no  green 
in  the  trees  or  grass;  no  brown  in  the  soil;  no  bright  flowers,  no  sunsets,  just  white  or 
black  or  gray? 

8.  How  did  the  early  tribes  of  Indians  secure  color  for  their  blankets? 

9.  Where  do  we  get  our  dye  stuffs?   Of  what  are  they  made? 

46 


COURSE          OF          INSTRUCTION 


10.  Compare  mineral  and  vegetable  dyes. 

11.  Analyze  the  greens  in  cabbages,  melons,  peppers,  and  cucumbers. 

12.  What  have  you' noticed  in  nature's  blend  of  color  in  an  apple? 

13.  What  would  you  think  if  you  saw  a  red  apple  with  a  blue  stripe  around  it? 

14.  Would  you  rather  wear  a  blue  sash  with  a  red  dress  or  go  without  a  sash? 
If  you  have  no  hair  ribbon  the  color  of  your  dress  what  color  can  you  wear  best  with  a 
blue  dress?   A  brown  dress?   A  green  dress?   A  pink  dress? 

15.  What  is  the  difference  between  a  blue-green  and  a  green  blue?   Do  blue-greens 
and  yellow-greens  combine  well? 

16.  What  nationalities  love  bright  colors?   Can  you  account  for  this? 

17.  What  do  youjcnow  of  the  colors  used  in°the  rugs  made  in  the  far  eastern  countries  ? 

18.  Have  you  ever  noticed  the  variety  of  colors  in  a  boquet  of  nasturtiums,  rang- 
ing throughout  all  the  shades  and  tints  from  deepest  red  to  palest  yellow?   What  kind 
of  a  vase  is  best  for  such  a  boquet?    Tell  how  to  arrange  artistically  pansies,  roses, 
columbines,  etc. 

19.  What  is  the  cause  of  the  color  in  the  rainbow? 

20.  To  colors  are  ascribed  certain  characteristics  and  qualities.    For  example,  red 
suggests  fire,  warmth   and  blood,  and  also  creates  irritation  and   arouses  passion. 
What  are  the  characteristics  of  blue?  of  our^le?  of  green?  of  orange? 

EXERCISE  No.  35 — BUTTONHOLES. 

Materials:  Blue  Percale  9"  woof  by  4"  warp;  red  percale  for  practice 
piece  18"  woof  4"  warp;  white  thread  No.  40  and  No.  70;  needle  No.  7. 

Remember  the  old  adage  Practice  Makes  Perfect. 

See  description  of  the  Buttonhole,  page  66. 

Note:  As  the  buttonhole  requires  a  great  deal  of  practice  it  is  well 
to  keep  practice  pieces  in  the  sewing  box  and  work  at  it  at  odd  times 
during  the  progress  of  the  year's  work.  Encourage  the  girls,  too,  to 
practice  on  the  buttonhole  for  home  work.  In  this  way  they  will 
gradually  acquire  the  skill  which  comes  only  with  practice.  Fold 
the  cloth,  with  the  woof  and  through  the  center,  and  baste  the  edges 
together.  Begin  with  the  blind  buttonhole. 

The  buttonhole  model  is  intended  to  show  how  much  skill  has  been 
acquired.  Fold  the  percale  through  the  center,  with  the  woof,  and 
baste  the  edges  together.  Make  the  buttonholes  three-fourths  of  an 
inch  long  and  one  inch  apart. 

EXERCISE  No.  36 — A  TRIAL  PIECE  FOR  THE  BACK  OF  A  PETTICOAT 

Materials:   Calico  14"  woof  by  6"  warp,  facing  Il"x2",  two  bands 
2";  white  thread  No.  60;  needle  No.  7. 

47 


SEWING 


A  Placket  with  a  Continuous  Facing:  Fold  the  cloth  through  the 
center  the  short  way  and  cut  the  opening  five  inches  on  the  fold. 

Follow  the  directions  for  Placket  B,  page  87. 

Hemmed  Band:  Put  a  band  on  each  side  of  the  opening.  Follow 
the  directions  for  the  hemmed  band,  page  82. 

EXERCISE  No.  37 — A  HEMSTITCHED  HANDKERCHIEF.! 

Materials:  Linen  finished  cambric  12"xl2";  thread  No.  80;  needle 
No.  8. 

Three-fourths  of  an  inch  from  the  edge  draw  four  threads.  Turn 
the  first  fold  of  the  hem  one-eighth  of  an  inch  and  baste  the  second 
fold  exactly  to  the  edge  of  the  opening,  giving  special  care  in  turning 
the  corners  exactly  even.  Hemstitch.  See  directions  for  Hem- 
stitching, page  79. 

EXERCISE  No.  38 — A  ROUND  HOLDER  AND  CASE. 

Materials:  Creton  15"x7^";  wadding;  muslin  14"x7";  tape  34"; 
needle  No.  7;  thread  No.  70. 

Pattern:  Draw  a  circle  with  a  3^£"  radius.  Cut  on  the  line.  Pro- 
ceed by  the  following  successive  steps: 

To  make  the  holder,  cut  two  pieces  from  the  muslin  like  the 
pattern.  Baste  the  wadding  to  one  piece  of  the  muslin  and  place 
the  other  piece  over  it,  turn  in  the  edges,  baste  and  overhand. 

The  holder  may  be  quilted  in  a  fancy  design  or  tacked  with  French 
knots. 

To  make  the  case:  Cut  two  circles  from  the  creton  as  much  larger 
than  the  holder  as  the  material  will  permit. 

Cut  one  circle  through  the  center  straight  with  the  threads  of  the 
cloth.  Hem  the  straight  edges  with  a  narrow  hem.  Baste  the  two 
halves  to  the  other  circle  of  creton,  right  sides  out.  Finish  the  edge 
by  binding  with  the  tape.  Before  hemming  the  binding  down  baste 
a  loop  of  tape  for  hanging  at  the  top  of  the  opening.  Slip  the  holder 
into  the  case. 


48 


COURSE          OF          INSTRUCTION 


EXERCISE  No.  39 — A  PETTICOAT  WITH  WAIST  OR  A  PRINCESS  SLIP. 

Materials:  Pupils  will  furnish  their  own  material  for  this  garment. 
The  patterns  which  their  mothers  use  can  be  secured  from  the  home. 
The  work  can  be  more  easily  directed  if  one  pattern  is  selected  for 
the  class.  These  skirts  may  be  made  plain  or  trimmed  with  ruffles 
of  cloth  or  with  embroidery,  depending  upon  the  wishes  of  the 
mothers,  the  skill  and  taste  of  the  individuals  and  the  material  fur- 
nished. Should  there  be  difficulty  in  securing  material  for  the  gar- 
ment, a  small  model  on  the  half-inch  scale  or  one  of  the  electives  can 
be  substituted.  Insist  that  the  work  be  well  done,  neatly  finished 
and  first  class  throughout.  Use  sewing  machines  when  available. 

Points  to  emphasize  in  the  making  of  a  skirt: 

1.  Cut  a  correct  pattern  before  beginning  the  skirt.    Do  not 
trust  to  making  corrections  when  cutting  out. 

2.  Baste  the  straight  edge  of  one  gore  to  the  bias  edge  of 
another  when  making  a  gored  skirt.    This  prevents  the 
sagging  which  would  occur  if  two  bias  edges  were  sewed 
together. 

3.  Allow  plenty  in  hem  and  tucks  for  letting  down  when 
making  garments  for  growing  girls. 

EXERCISE  No.  40 — TEXTILE  FIBERS  AND  FABRICS — FLAX. 

Under  the  heading  "Textile  Fibers  and  Fabrics,"  page  96,  will  be 
found  subject  matter  which  can  be  used  in  correlation  with  the 
geography,  language  and  history  work.  The  sixth  grade  subject  is 
Flax.  Make  a  collection  of  the  flax  products,  fabrics,  etc.  A  class  set 
of  compositions,  each  member  of  the  class  taking  different  subdivi- 
sions of  the  subject,  would  make  an  interesting  collection. 

ELECTIVES. 

*A  small  doily  may  be  substituted  for  the  apron.  This  can  be 
bought  already  stamped  with  embroidery  cotton  for  working.  See 
description  of  ornamental  stitches,  page  77. 


49 


SEWING 


*Basketry  or  one  of  the  fancy  bags  may  be  substituted  for  the 
apron. 

fThe  hemstitched  pin  cushion  may  be  substituted  for  the  hand- 
kerchief. 


ROUND    BOTTOM    BAG    WITH    RAFFIA    COVERING. 


HEMSTITCHED  PIN  CUSHION. 

Materials:  Muslin  3>£"x6>6";  two  pieces  of  India  linen  6"x6"; 
thread  No.  80;  needle  No.  8.  See  illustration  on  page  36. 

The  cushion:  Fold  the  muslin  through  the  center  the  short  way 
and  stitch  around  the  outside  one-fourth  inch  from  the  edge  leaving 


50 


COURSE          OF          INSTRUCTION 

an  opening  for  filling.  Fill  with  fine  sawdust  and  close  the  opening 
with  the  overhand  stitch. 

The  cushion  cover:  The  bottom  piece. — Draw  five  threads  one 
and  one-fourth  inches  from  the  edge  on  the  four  sides.  Turn  and 
baste  the  hem  to  this  opening.  Hemstitch.  This  piece  will  serve  as 
a  practice  piece  for  the  hemstitching  and  can  be  used  also  for  the 
bottom  of  the  pin-cushion.  Follow  the  same  directions  for  the  top 
piece. 

Pupils  will  furnish  four  tiny  pearl  buttons  to  button  the  two 
pieces  together.  Make  the  buttonholes  in  the  middle  of  the  hem  of 
the  top  cover  and  sew  the  button  on  the  bottom  piece. 

THE  ROUND  BOTTOM  BAG  WITH  A  FANCY  RAFFIA  COVERING. 

Make  the  bag  any  size  desired;  a  circle  of  three  or  four  inches  in 
diameter  makes  a  practical  one.  Draw  the  pattern  for  the  raffia 
covering  on  paper,  the  circle  for  the  bottom  being  the  same  size  as 
that  of  the  bottom  of  the  bag.  The  design  for  the  sides  may  be  in 
as  many  sections  as  desired.  The  tops  of  these  sections  may  be 
shaped  to  suit  one's  taste — round,  pointed  or  fancy.  When  the 
pattern  is  completed  baste  a  strand  of  raffia  on  the  pattern,  following 
the  lines  of  the  design.  Then  closely  blanket  stitch  with  raffia  on 
both  sides  of  these  strands.  The  spaces  may  then  be  filled  with  fancy 
lace  stitches. 


51 


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52 


CHAPTER  VI. 
COURSE  OF  INSTRUCTION. 

FIFTH  YEAR — SEVENTH  GRADE. 
EQUIPMENT. 

Sewing  box  or  envelope  case. 

Pin  cushion — 30  pins. 

Thimble. 

Needles. 

Scissors. 

Thread  cards. 

Practice  Piece— Unbleached  muslin  12"x9". 

Use  No.  80  thread  for  machine  work. 

ORDER  OF  EXERCISES. 

Prepare  Thread  Cards — Cardboard  4"x4",  designed  and  cut  for 
four  kinds  of  thread. 

Exercise  No.  41 — A  Trial  Piece  for  Finishing  the  Bottom  of  a 
Pair  of  Drawers. 

Exercise  No.  42 — Drawers  or  Bloomers.* 

Exercise  No.  43 — Christmas  Piece. f 

Exercise  No.  44 — A  Study  of  Home  Furnishing,  Decoration  and 
Care. 

Exercise  No.  45 — Twist  Buttonholes. 

Exercise  No.  46 — Cloth  Darning. 

Exercise  No.  47 — A  Study  of  Costume  Design. 

Exercise  No.  48 — A  Nightgown,  Bungalow  Apron  or  a  Simple 
Wash  Dress. 

Exercise  No.  49 — Eyelet  Embroidery — A  Napkin  Ring. 

Exercise  No.  50 — Textile  Fibers  and  Fabrics — Wool. 

*f  See  Electives,  page  63. 

53 


SEWING 


DETAILED  DESCRIPTION  OF  EXERCISES. 
Review  Divisions  of  the  Foot  and  Yard  Measure. 

EXERCISE  No.  41 — A  TRIAL  PIECE  FOR  FINISHING  THE  BOTTOM  OF 
A  PAIR  OF  DRAWERS. 

Materials:    India  linen   8"x8",  ruffle    12"  woof,  2"  warp;  white 
thread  No.  80;  needle  No.  7. 


A   TRIAL    PIECE,    GIVING    PRACTICE    ON    THE    HEMMED    SEAM,    TUCKING,    AND    PUTTING   A 
RUFFLE    INTO    A    HEM-TUCK. 

Hemmed  Seam:  One  inch  and  a  quarter  from  the  top  crease  a 
fold  with  the  warp.  Cut  on  this  crease. 

See  description  of  the  Hemmed  Seam,  page  91. 

Putting  a  ruffle  into  a  hem-tuck  and  tucking:  Measure  up  from  the 
bottom  two  and  one-fourth  inches — or  twice  the  width  of  the  hem-tuck 


54 


COURSE          OF  INS   T   R   U   C   T    I    O   N 

plus  one-fourth  inch  for  the  seam — and  crease  with  the  warp,  across 
the  piece.  Machine  stitch,  or  run  by  hand  an  inch  tuck,  taking 
care  to  measure  and  make  perfectly  even.  Measure  up  three-eighths 
of  an  inch  from  this  stitching  and  crease  for  another  tuck.  Stitch, 
or  run  by  hand  an  eighth  of  an  inch  tuck.  Measure  up  three-eighths 
of  an  inch  for  another  tuck.  Put  in  a  cluster  of  three  tucks.  Hem 
the  ruffle  with  an  eighth  of  an  inch  hem,  gather  and  stroke  the 
gathers. 

See  description  of  gathering  and  sewing  a  ruffle  to  a  straight 
edge,  page  72. 

Place  the  wrong  sides  of  the  cloth  and  ruffle  together  and  baste  to 
the  edge  extending  below  the  hem-tuck,  bringing  the  seam  exactly 
to  the  edge  of  the  tuck.  Baste  and  stitch  the  edge  of  the  hem-tuck 
over  the  seam  of  the  ruffle. 

EXERCISE  No.  42 — A  PAIR  OF  DRAWERS  OR  BLOOMERS.* 

Materials:  Pupils  will  furnish  materials  for  one  of  these  garments. 
One  style  of  garment  for  the  entire  class  is  preferable.  Secure  stand- 
ard patterns  in  sizes  required. 

Finish  the  bottom  of  the  drawers  like  Exercise  No.  41.  Finish 
the  bottom  of  the  bloomers  with  a  hem  and  elastic,  making  a  button- 
hole in  the  hem  to  slip  the  elastic  in. 

All  seams  to  be  finished  with  the  French  fell  and  the  opening  at 
the  side  with  either  placket  A  or  B. 

See  pages  82  and  85  for  bands  and  plackets. 

Let  "Good  \\orkmanship"  be  your  motto  and  tolerate  nothing 
else. 

EXERCISE  No.  43 — CHRISTMAS  PIECE. f 

All  Christmas  gifts  should  represent  the  personal  thought  of  the 
giver  for  the  taste  or  need  of  the  friend  receiving  it.  Nearly  all  home 
keepers  appreciate  a  useful,  artistic  thing  for  the  home  and  no  pur- 
chased gift  can  give  the  genuine  pleasure  experienced  when  one 
receives  a  gift  made  especially  for  her  by  a  friend. 


55 


SEWING 


TOWELS   SELECTED   FROM  THE   WORK   OF   A    SEVENTH   GRADE 


56 


COURSE          OF          INSTRUCTION 


Select  from  the  following: 
Guest  Towels: 

These  may  be  made  from  plain  linen  crash  at  eighteen  to  twenty- 
five  cents  per  yard,  or  from  huck  toweling  from  twenty-five  cents  to 
a  dollar.  Use  linen,  never  cotton  for  a  towel.  There  are  a  great  many 
ways  of  making  them.  A  few  suggestions  follow: 

(a)  Plain,  ladder  or  zig-zag  hemstitched  hem  with  fillet-crocheted 
or  embroidered  initial. 

(b)  Fillet  insertion  or  edge. 

(c)  Embroidered  design. 

(d)  Cross-stitch  design  in  colors. 
Fancy  Pillow  Cases: 

Pillow  case  tubing,  one  yard  for  each  pillow.    Finish  with  hem- 
stitched hem,  embroidery  or  crocheted  insertion. 
Sofa  Pillows: 

Pillow  covers  that  can  be  laundered  are  especially  good.  The  neu- 
tral grays  and  tans  and  old  blues  harmonize  with  most  color  schemes. 
This  exercise  affords  an  excellent  opportunity  for  original  designs. 

EXERCISE  No  44 — ART  IN  THE  DECORATION  OF  THE  HOME. 

The  following  principles  in  home  decoration  should  be  given  in 
nine  or  ten  lessons  scattered  throughout  the  term  and  correlated  with 
the  sewing  lessons.  Their  success  or  failure  depends  upon  the  teacher's 
power  to  arouse  and  interest  her  pupils. 

No  other  phase  of  art  training  can  be  compared  in  its  far-reaching 
and  immeasurable  effects  upon  the  lives  and  characters  of  individuals 
with  that  of  art  brought  to  bear  upon  the  decoration  of  the  home. 

From  birth  to  death,  every  impression  made  upon  one's  con- 
sciousness, through  the  senses,  has  its  effect  upon  that  individual's 
personality.  Environment  plays  a  large  part  in  the  evolution  of  the 
race.  Every  thought,  every  act,  which  makes  the  sum  total  of  one's 
life,  comes  from  these  impressions.  With  this  psychological  prin- 
ciple as  a  basis  it  is  an  indisputable  fact  that  the  schools  can  give 
no  more  important  training  than  the  taste-cultivation  of  the  girls 


57 


SEWING 


that    they    may    be    the    makers   of   artistic,    up-lifting,    character- 
building  homes. 

Individual  problems  and  tastes  must  enter  largely  into  the  scheme 
of  decoration  of  the  place  where  one  must  line,  but  there  are  certain 
well-established,  fundamental  principles  which  are  outside  the 
personal  choice  and  mark  the  difference  between  the  artistic  home 
and  the  junk-shop  or  the  museum. 

1.  The  first  question  to  ask  one's  self  is,  To  what  use  is  this  room 
to  be  put?   A  dining  room,  a  sleeping  room,  a  library,  are  all  different 
problems.    The  answer  to  this  question  will  determine  largely  the 
kind  of  decoration  required,  because  above  all  else  is  fitness.    Allow 
nothing  to  enter  into  the  decorative  scheme  that  is  not  useful.    Its 
use  may  be  to  beautify,  but  even  in  this  it  must  aid  and  not  inter- 
fere with  the  family  life  and  activities.    Let  simplicity  be  the  key 
note  in  the  decoration  of  the  home.    Eliminate  everything  that  is 
confusing,  perplexing,  or  unrestful. 

2.  A  room  must  be  a  unit  with  the  ceiling,  walls  and  floor  as  a 
back-ground   for  all  other  decoration.    The  floor  as   a  foundation 
upon  which  all  must  rest  will  be  the  darkest  in  tone,  the  walls  mid- 
way and  the  ceiling  lightest. 

3.  The  color  selected  must  be  determined  by  the  position  of  the 
room  on  the  north  or  south  side,  the  amount  of  window  space,  the 
use  to  which  the  room  is  to  be  put  and  individual  taste.    Select  the 
warm  bright  colors  for  dark,  cheerless  or  small  rooms,  and  the  cool, 
subdued  colors  for  the  overbright  ones.    See  Exercise  No.  34. 

4.  Much  can  be  done  by  wall-treatment  to  change,  in  effect,  rooms 
out  of  proportion.    Ceilings  too  high  may  seemingly  be  lowered  by 
continuing  the  ceiling  decoration  on  the  side  wall.    Vertical  line  de- 
signs in  wall  paper  carried  to  the  ceiling  will  do  much  toward  raising 
a  low  ceiling.     Select  a  wall  paper  with  great  care,  choosing  only 
that  which  is  restful,  harmonious  and  unobtrusive.    Prevailing  fads, 
often  times  trade  tricks,  may  be  disastrous. 

5.  Because  it  is  a  large  mass  of  color  the  floor  covering  can  easily 
mar  an  otherwise  good  room.     Harmony  in  color  there  must  be. 
Avoid  loud,  aggressive  colors  and  patterns,  as  well  as  all  floral  de- 


58 


COURSE          OF  INSTRUCTION 


signs.    If  the  room  is  too  small  a  larger  effect  is  obtained  by  covering 
or  nearly  covering  the  floor  space. 

6.  Curtains  and  other  hangings  must  be  selected  first  for  their 
use.    As  the  light  is  to  filter  through  the  curtain  one  must  decide 
whether  more  light  is  required,  or  the  windows  protected  from  the 
glare  of  the  sun.    A  refinement  of  taste  dictates  the  proper  selection 
of  the  textile,  the  design  and  the  color  of  the  curtains  to  be  used. 
There  can  be  no  rule.    The  window  curtains  should  be  hung  inside 
the  casement  on  slender  brass  rods,  and  just  escape  the  window 
sill.     An    additional    curtain,    sometimes    used    in    the    decorative 
scheme,  should  clear  the  floor. 

7.  Volumes  might  be  written  on  the  choice  of  furniture.    Use  and 
fitness,  of  course,  are  considered  first.    A  chair  may  be  useful  and 
beautiful  and  fit  into  its  surroundings;  it  cannot  be  decorative  alone 
for  its  purpose  is  to  be  sat  upon.    Here  again,  simplicity  in  structural 
lines  is  safest.    Avoid  anything  massive  for  ordinary  living  rooms. 
Great  divergence  in  shapes,  lines  and  quality,  is  not  successful.    Buy 
a  thing  because  it  is  well  made,  good  in  line  and  proportion,  and 
f.ts  into  the  scheme  of  your  room,  harmonizing  with  every  thing  else 
there,  or  go  without  it. 

8.  A  picture  is  a  decoration  only  when  it  harmonizes  and  blends 
with  the  wall  upon  which  it  is  hung.    It  should  never  be  a  spot  upon 
the   wall   confusing  to   the   eye   and    unconsciously   distracting  the 
mind.    Many  pictures,  or  pictures  in  groups,  are  perplexing  and  un- 
restful.    Pictures  should  be  hung  with  the  center  of  the  picture  on  a 
level  with  the  eye  of  the  average  person.    If  there  are  several  pictures 
in  the  room  hang  them  with  the  tops  on  a  level  instead  of  the  ziz- 
zag  plan  usually  followed.    Frame  pictures  with  the  molding  to  the 
edge  of  the  picture  or  if  the  picture  seems  to  require  a  larger  frame 
use  a  mat  of  the  same  color,  never  one  of  a  sharp  contrast  which  gives 
the  effect  of  a  frame  within  a  frame. 

9.  Use  bric-a-brac  sparingly  and  with  great  caution.    Never  let 
your  home  give  the  impression  that  you  are  displaying  a  collection. 
Remember  that  nothing  is  decorative  unless  it  is  fitting,  beautiful 
in  its  way,  and  necessary,  no  matter  how  expensive  it  may  be. 


59 


SEWING 


10.  It  is  true,  there  are  people  gifted  with  a  finely  discriminating 
color-sense  and  an  intuitive  balance  of  arrangement  and  power  of 
selection  who  instinctively  know  the  good  from  the  bad.  There  are 
others  so  lacking  in  these  qualities  that  they  cannot  see  the  garish- 
ness  even  when  it  is  pointed  out  to  them.  The  decoration  of  man's 
habitation  is  more  than  a  knack;  it  is  an  Art. 

Give  written  tests  on  the  subject  matter  above: 

Have  pupils  bring  samples  of  wall  paper,  select  the  good  and  the 
bad  and  tell  why  they  think  so. 

Each  girl  will  decide  upon  a  color  scheme  for  a  room,  select  her 
wall  and  ceiling  paper  and  write  a  composition  describing  this  room, 
illustrating  as  far  as  possible. 

EXERCISE  No.  45  —  TWIST  BUTTONHOLES. 


Materials:  French  flannel  3>£"  warp  by  6jA"  woof;  twist;  sewing 
silk;  needle  No.  7.  Practice  piece,  shaker  flannel  3>2"xl3". 

See  description  of  the  buttonhole,  page  66. 

Double  the  flannel  through  the  center  the  long  way,  baste  along 
the  folded  edge  and  around  the  piece.  Overcast  the  raw  edges.  Begin 
one-half  inch  from  the  top  and  make  the  buttonholes  three-fourths 
of  an  inch  long  and  three-fourths  of  an  inch  apart.  Strand,  over- 
cast and  finish  with  the  bar. 

EXERCISE  No.  46  —  CLOTH  DARNING. 

Materials:  Albatros  5"x6";  patch  I^"x2";  sewing  silk;  needle 
No.  7;  beeswax. 

See  description  of  Cloth  Darning,  page  71. 

Four  holes,  cut  as  follows,  are  to  be  darned  on  this  piece  of 
cloth  : 

No.  1.  In  the  lower  left  hand  corner  one  inch  from  the  bottom 
and  the  side,  cut  one  inch  straight  with  the  warp.  Darn  with  split 
sewing  silk  on  the  wrong  side. 

No.  2.  In  the  upper  left  hand  corner,  one  inch  from  the  top 
and  side,  cut  one  inch  with  the  warp  and  one  inch  with  the  woof. 


60 


COURSE         OF          INSTRUCTION 

This  will  serve  for  a  three-cornered  tear.  Darn  on  the  right  side 
with  ravelings.  Spread  the  stitches  at  the  corner  like  the  sticks  of 
a  fan. 

No.  3.  In  the  lower  right-hand  corner,'  one  inch  from  the  bottom 
and  the  side  cut  one  inch  on  the  bias.  Darn  with  split  sewing  silk 
on  the  wrong  side.  Baste  a  small  piece  of  glazed  paper  under  the 
cut  before  darning. 

No.  4.  In  the  upper  right-hand  corner,  one  inch  from  the  top 
and  the  side  cut  one  inch  across  the  warp.  This  will  serve  for  a 
worn  'place  in  the  cloth.  Place  the  patch  under  it  and  baste 
around  the  edge.  Darn  with  ravelings  on  the  right  side.  Trim 
the  edges  of  the  patch  smooth  and  herringbone  stitch  with  ravelings 
around  it. 

Finish  the  edge  of  the  piece  with  the  blanket  stitch. 

Follow  this  exercise  with  the  repairing  of  some  article  brought 
from  home  that  will  give  a  practical  experience  in  cloth  darning. 
Should  there  be  any  difficulty  in  securing  these  articles  there  are 
plenty  of  homes  that  will  supply  enough  for  the  entire  class.  This 
must  be  done  under  the  teacher's  supervision. 

»  , 

EXERCISE  No.  47 — STUDY  OF  COSTUME  DESIGN. 

The  study  of  costume  should  be  given  in  nine  or  ten  lessons 
scattered  throughout  the  term  and  correlated  with  the  sewing 
lessons. 

1.  Read  the  chapter  on  "Costume,"  page  105,  one  section  each  day 
and  discuss  freely  the  statements  made  there. 

2.  Review  briefly  the  work  on  color  under  Exercise  No.  34. 

3.  Each  pupil  will  design,  in  color,  three  costumes  for  young  girls 
for  a  page  in  a  fashion  book.    Select  from  fashion  books  three  figures 
suitable  for  this  purpose  and  cut  them  out.    Before  arranging  and 
pasting  on  a  sheet  of  drawing  paper  make  an  outline  of  each  dress  by 
drawing   around   the   figure.     With   this   as   a   guide   design   simple 
dresses  with  good  artistic  lines.    Color  with  water  colors  appropriate 
for  the  style  of  the  dress. 

61 


SEWING 


4.  What  are  the  marked  characteristics  of  dress  in  the  following 
nations:  Japanese?  Turks?  Norwegians?  Spanish?  American 
Indians?  Dutch? 


A  PAGE  FOR  A  FASHION  BOOK  ARRANGED  BY  A  SEVENTH  GRADE  GIRL. 
EXERCISE    NO.  47. 


5.  The  accessories  of  dress  are  those  things  which  added  make 
the  costume  complete,  such  as  gloves,  shoes,  ties,  hair  ribbons,  hats, 
etc.  Write  five  rules  which  you  think  should  govern  the  choice  and 
care  of  the  accessories. 


62 


COURSE          OF          INSTRUCTION 


6.  Each  pupil  will  prepare  herself  to  talk  two  minutes  on  "Suitable 
Styles  of  Hairdressing  for  Young  Girls."  • 

7.  Give  a  written  test  on  the  subject  of  costume. 

EXERCISE  No.  48 — A  NIGHTGOWN,  BUNGALOW  APRON 
OR  SIMPLE  WASH  DRESS. 

Materials:  Pupils  will  furnish  their  own  materials  for  one  of  these 
garments.  The  patterns  for  the  slip-over  gown  and  the  bungalow 
apron  are  practically  the  same.  Make  careful  selection  of  patterns. 
One  style,  in  different  sizes,  for  the  entire  class  is  best. 

The  crocheted  yokes  or  edges  or  tatting  make  very  satisfactory 
trimming  for  the  gown  if  well  made  from  the  proper  thread. 

Keep  always  in  mind  that  the  beauty  of  any  garment  will  depend 
upon  the  nicety  of  taste  in  selecting  the  right  materials — by  no  means 
the  most  expensive — and  the  neatness,  daintiness  and  care  in  the 
making. 

EXERCISE  No.  49 — EYELET  EMBROIDERY — A  NAPKIN  RING. 

Materials:  Butchers  linen  3"x8"  stamped  with  design;  crewel 
needle;  embroidery  cotton. 

See  page  77  for  the  description  of  the  embroidered  edge,  and  page 
84  for  the  eyelet.  Fasten  with  a  button  and  buttonhole. 

EXERCISE  No.  50 — TEXTILE  FIBERS  AND  FABRICS — WOOL. 

Under  the  heading,  "Textile  Fibers  and  Fabrics,"  page  96,  will  be 
found  subject-matter  which  can  be  used  in  correlation  with  the  work 
in  language  and  geography.  Make  a  selection  of  wool  products  and 
fabrics.  Write  a  composition  on  wool. 

ELECTIVES. 
*The  following  may  be  substituted  in  place  of  Number  42. 


63 


SEWING 


MAKING  OVER  AN  OLD  GARMENT. 

This  is  a  most  useful  lesson.  In  every  home  there  are  to  be  found 
garments  which  are  made  of  good  materials  but  which  are  out  of 
style.  This  should  be  utilized  and  these  old  garments  not  allowed  to 
accumulate.  Do  not  spend  time  on  outworn  garments.  A  wool 
dress  skirt,  even  though  faded,  or  a  light  overcoat  may  be  turned 
and  made  into  warm  clothing  for  children. 

Rip  up  the  garment  and  carefully  wash  and  iron  the  pieces.  Do 
not  be  afraid  of  piecing  when  making  a  garment  over,  being  sure 
that  the  pieces  run  the  same  way  of  the  cloth  and  that  the  seams  are 
pressed  and  finished  with  the  flannel  or  the  flat  seam. 

Secure  from  the  home  a  pattern  for  a  pair  of  drawers,  bloomers  or 
little  skirt  for  a  little  brother  or  sister  or  for  a  poor  child  of  the 
neighborhood. 

fA  doily  may  be  selected  for  a  Christmas  gift. 

Materials:  A  doily  may  be  purchased  already  stamped  if  desired. 
Select  a  simple,  artistic  design  which  requires  simple  embroidery 
stitches  and  not  too  much  labor. 

See  description  of  ornamental  stitches,  page  77. 


64 


CHAPTER   VII. 
DESCRIPTION  OF  STITCHES. 

STITCHES  USED  IN  PLAIN  SEWING. 


1.  Basting. 

2.  Blind  Stitch. 

3.  Buttonholes. 

4.  Combination  Stitch. 

5.  Darning. 

6.  Gathering. 

7.  Halfback  Stitch. 


8.  Hemming. 

9.  Overcasting. 

10.  Overhanding. 

11.  Running. 

12.  Slip  Stitch. 

13.  Stitching. 


ORNAMENTAL  STITCHES. 


Applique. 
Blanket  Stitch. 
Chain  Stitch. 
Couching. 
Feather  Stitch. 


6.  French  Knots. 

7.  Hemstitching. 

8.  Herringbone  Stitch. 

9.  Kensington  Outline. 

10.  Lazy  Daisy  or  Star  Stitch, 


MISCELLANEOUS. 


1.  Bands.  10. 

2.  Bias. 

3.  Cloth. 

4.  Eyelets  and  Loops. 

5.  Joining  and  Fastening  Threads. 

6.  Mitered  Corner. 

7.  Patterns.  11. 

8.  Plackets.  12. 

9.  Putting  in  Sleeves.  13. 

14. 


Seams. 

A.  Bound  Seam. 

B.  Flannel  Seam 

C.  French  Fell. 

D.  French  Seam. 

E.  Hemmed  Seam. 
Sewing  on  Buttons. 
Sewing  on  Hooks  and  Eyes. 
Sewing  on  Lace. 
Tucking. 


65 


SEWING 


STITCHES  USED  IN  PLAIN  SEWING. 

Basting. — Basting  is  temporary  sewing  used  to  hold  the  cloth  in 
place  while  putting  in  permanent  stitches.  As  the  basting  threads 
are  to  be  removed,  place  the  knot  on  the  right  side.  Fasten  the 
threads  securely  by  taking  two  or  three  backstitches.  In  removing 
basting  threads  clip  the  threads  at  short  intervals  that  they  may  be 
taken  out  easily.  Much  of  the  success  of  the  work  depends  upon  care- 
ful basting.  The  extra  time  required  will  be  repaid  ten-fold.  One 
stitch  at  a  time  for  beginners,  later  two  or  three  stitches  may  be 
taken.  In  basting  hems,  baste  not  on  the  edge,  but  very  near  it.  Do 
not  baste  on  the  line  where  you  expect  to  stitch,  but  as  near  it  as 
possible. 

A.  An  even  basting  is  used  on  hems,  seams  of  garments,  or  wher- 
ever two  pieces  of  cloth  are  to  be  held  firmly  together.   Take  up  one- 
fourth  of  an  inch  and  skip  one-fourth. 

B.  Uneven  basting  is  used  where  very  careful  basting  is  unneces- 
sary, as  in  the  seams  of  skirts,  or  in  working  on  a  material  that  clings 
together,  as  a  guide  for  stitching.   Take  up  an  eighth  of  an  inch  and 
skip  three-eighths.    When  only  loose  basting  is  required,  as  when 
holding  the  lining  and  outside  together,  a  long  stitch  and  two  short 
ones  may  be  used. 

Blind  Stitch. — The  blind  stitch  and  slip  stitch  are  used  to  fasten 
a  hem  lightly  where  it  is  desired  to  conceal  the  stitches.  To  blind 
stitch  a  hem,  turn  back  the  edge  of  the  hem  to  the  basting  and,  hold- 
ing the  cloth  along  the  edge  of  the  finger,  catch  first  cloth  and  then 
hem  with  a  single  stitch  that  does  not  show  on  either  side.  A  slip 
stitch  is  a  long  stitch  on  the  wrong  side  and  a  blind  stitch  on  the  hem. 
It  is  used  on  the  milliner's  fold. 

Buttonholes. — A  buttonhole  is  a  slit  cut  and  worked  to  admit  a 
button  for  fastening  purposes.  It  is  much  easier  for  beginners  to  com- 
mence on  the  blind  buttonhole.  This  is  made  by  working  around  a 
line  instead  of  cutting  the  hole.  The  stitch,  the  fan,  and  the  finishing 
can  thus  be  learned  without  the  care  of  the  raw  edge.  The  directions 
for  making  the  buttonhole  are  as  follows: 

66 


DESCRIPTION 


O  F 


STITCHES 


STITCHES    USED    ON    PLAIN    SEWING. 


1  —  Three  styles  of  basting. 

2  —  The  running  stitch. 

3  —  The  gathering. 
4 — The  backstitch. 


5  —  The  half-back  stitch. 

6  —  The  combination  stitch. 

7  —  The  overcasting. 


67 


SEWING 


A.  PREPARATION  OF  THE  HOLE. 

a.  Cutting — With  the  buttonhole  scissors  cut  the  hole  one-fourth 
of  an  inch  from  the  folded  edge  and  straight  with  the  threads  of  the 
cloth. 

b.  Stranding — The  strand  consists  of  carrying  the  thread  along 
the  edge  of  the  buttonhole  near  enough  to  be  easily  covered  by  the 
buttonhole  stitch,  for  the  purpose  of  adding  strength  to  the  button- 
hole.   Thread  two  needles,  one  with  fine  thread  or  sewing  silk  and 
the  other  with  coarser  thread  or  twist,  depending  upon  the  kind  of 
buttonhole  to  be  made.    Place  a  knot  in  the  coarse  thread  or  twist, 
and  with  the  folded  edge  of  the  cloth  toward  the  left  hand,  bring  the 
needle  out  just  below  the  lower  right  hand  end  of  the  buttonhole, 
which  is  the  end  farthest  from  the  folded  edge.    At  the  other  end 
put  the  needle  into  the  cloth  just  below  the  end  of  the  cut  and  bring 
it  out  just  above,  which  will  carry  the  thread  along  the  edge  ot  the 
buttonhole.    Repeat  the  same  on  the  other  side  bringing  the  thread 
out  at  the  point  of  starting.    Do  not  cut  this  thread,  HS  this  is  ready 
to  begin  the  buttonhole  stitch  after  the  overcasting. 

c.  Overcasting — With  the  fine  thread  or  sewing  silk  begin  at  the 
lower  right-hand  end.    The  object  of  the  overcasting  is  to  prevent 
raveling  while  working  the  buttonhole  and  the  fewer  stitches  which 
will  accomplish  this  purpose  the  better.    As  the  overcasting  must 
be  covered  by  the  buttonhole  stitch  do  not  take  over  two  or  three 
threads  deep  and  just  as  few  stitches  on  each  side  as  is  absolutely 
necessary  to  prevent  the  loosening  of  the  threads.    Some  materials 
do  not  require  overcasting. 

B.  WORKING  THE  BUTTONHOLE. 

a.  The  Stitch — Determine  how  deep  a  stitch  is  necessary  so  that 
the  threads  will  not  pull  out,  always  keeping  in  mind  that  the  shorter 
the  stitch  the  better  the  buttonhole  will  look.  This  depends  upon  the 
kind  of  material  in  use.  The  first  stitch  begins  one  thread  beyond 
the  end  of  the  slit.  Holding  the  buttonhole  along  the  cushion  of 
the  left  forefinger  with  the  folded  edge  of  the  cloth  toward  the  left, 
place  the  needle  into  the  slit  under  the  lower  edge  of  the  buttonhole 
and  draw  the  needle  half  way  through.  With  the  needle  still  point- 


68 


DESCRIPTION 


O  F 


STITCHES 


ing  toward  the  chest  take  up  the  double  thread  at  the  eye  of  the 
needle  and  place  it  under  the  point,  passing  from  right  to  left.  Draw 
the  needle  and  thread  out,  and  from  you,  so  that  the  purl  or  twist 

comes  to  the  edge  of  the  slit.  (This 
makes  a  firmer  edge  than  when 
the  thread  is  carried  around  the 
needle  from  left  to  right.)  Each 
stitch  is  a  repetition  of  the  above. 
Place  the  stitches  about  the  width 
of  a  thread  apart,  as  this  will  avoid 
a  crowded  appearance  and  makes  a 
firm,  hard  edge.  Do  not  jerk  the 
thread,  but  draw  steadily  and  tight; 
otherwise  the  edge  will  be  rough. 
Avoid  stretching  the  buttonhole;  the 
edges  should  touch  when  finished. 

b.  The  Fan — At  the  end  near 
the  folded  edge — the  round  end — 
spread  the  stitches  like  the  sticks  of 
a  fan,  drawing  them  closer  at  the 
top  and  spreading  at  the  bottom. 
Five  stitches  will  work  nicely  around 
the  end,  the  third  stitch  being 
straight  with  the  buttonhole. 


C.     METHOD    OF    FINISHING    THE 

BUTTONHOLE. 
The  simplest  manner  of  fin- 


SUCCESSIVE   STEPS   IN   MAKING 
THE   BUTTONHOLE 


a. 


ishing  is  as  follows:  The  buttonhole 
stitches  at  this  end  are  at  right 
angles  to  the  slit,  and  not  rounding 
as  at  the  other  end.  After  finishing 

the  last  buttonhole  stitch,  pass  the  needle  down  between  the  first  and 
second  stitch,  and  bring  it  out  between  the  last  and  next  to  the  last 
stitch.  Draw  the  thread  tight  so  as  to  bring  the  edges  of  the  button- 


69 


SEWING 


hole  together.    Put  in  several  stitches  in  the  same  place.    Pass  the 
needle  to  the  under  side  and  fasten  the  thread. 

b.  The  Bar — The  thread  being  at  the  top  of  the  last  stitch, 
pass  the  needle  down  between  the  first  and  second  stitch  and  out 
at  the  bottom  of  the  last  stitch.    Put  in  three  threads  across  the 
width  of  the  buttonhole,  bringing  the  thread  out  at  the  bottom 
of  the  last  buttonhole  stitch.    Turn  the  cloth  so  that  the  thumb 
covers  the  thread  and  the  buttonhole,  and  work  the  bar  by  bring- 
ing the  needle  out  each  time  over  the  thread,  as  in  the  blanket 
stitch.    Draw  the  purl  edge  toward  the  buttonhole.    Do  not  put 
in  too  many  stitches,  as  it  makes  the  loop  stand  away  from  the 
buttonhole.    Near  the  middle  of  the  bar  take  one  stitch  through 
the  cloth  to  hold  it  down. 

c.  Caution — Be  sure  that  the  thread  is  long  enough  to  work 
the  buttonhole,  but  not  over-long,  as  the  thread  wears  and  is 
more  liable  to  break.   Use  care  and  not  break  the  thread,  but  in 
case  this  happens,  take  out  the  last  few  stitches,  thread  the 
needle  on  this  short  end,  pass  through  the  last  purl,  and  fasten 
the  thread  on  the  under  side.    With  the  new  thread  fasten  with- 
out a  knot  on  the  wrong  side,  bring  through  the  last  purl  at  the 
edge  of  the  buttonhole  and  continue. 

On  cloth  that  ravels  badly  put  in  two  parallel  rows  of  running 
stitches  and  then  cut  the  buttonhole  between  the  rows. 

Combination  Stitch. — The  Combination  stitch  consists  of  three 
little  running  stitches  and  a  backstitch  over  the  last  running  stitch. 
Take  three  running  stitches  on  the  needle  and  pull  it  through.  Take 
up  the  last  running  stitch  for  the  first  of  the  next  group  of  three. 
It  is  a  little  stronger  than  the  running  stitch.  See  illustration 
page  67. 

Darning. — The  object  in  darning  is  to  repair  a  rent,  if  possible,  so 
that  it  cannot  be  perceived.  The  warp  and  woof  threads  that  have 
been  worn  away  are  to  be  rewoven  into  the  cloth.  No  knots  are 
needed.  Leave  a  short  end  of  thread  to  be  clipped  when  the  darn  is 
finished. 


70 


DESCRIPTION  OF  STITCHES 

A.  STOCKING  DARNING. 

Stockings  should  be  darned  on  the  wrong  side.  A  square  hole 
makes  a  more  symmetrical  darn  than  a  round  one,  and  should  be 
used  wherever  there  is  no  widening  or  narrowing  in  the  knitting,  as 
on  the  leg  of  a  stocking.  A  round  hole  is  better  for  the  heel  and  toe. 
Cut  away  the  part  that  is  badly  worn.  First  put  in  the  warp  threads, 
taking  care  to  take  up  on  the  needle  all  the  little  loops  around  the 
hole  and  making  the  darn  symmetrical  in  shape.  Then  put  in  the 
woof  threads,  weaving  carefully  across  the  warp  over  the  hole,  passing 
over  the  threads  that  were  taken  up  on  the  preceding  row.  Give 
special  attention  to  the  edge  of  the  hole,  passing  first  over  and  then  under 
the  edge,  that  there  may  be  no  ridge.  If  the  hole  is  large  or  stretched  out 
of  shape,  draw  up  the  edges  by  whipping  with  fine  thread.  The 
darning  stitches  should  extend  only  as  far  as  the  worn  part.  If  the 
warp  threads  have  strengthened  the  worn  part  sufficiently  the  woof 
threads  may  be  extended  only  far  enough  over  the  edge  to  fasten 
securely.  In  darning  a  large  hole  it  is  sometimes  wise  to  begin  putting 
in  the  warp  threads  at  the  center  first  to  prevent  stretching.  Do  not 
draw  the  threads  too  tight,  as  they  will  shrink  when  washed. 

B.  CLOTH  DARNING. 

This  may  be  done  with  thread,  ravelings  or  hair.  In  darning  with 
thread  darn  on  the  wrong  side,  with  ravelings  or  hair  on  the  right. 
Darn  at  right  angles  to  the  tear  or  cut.  Continue  the  darning  stitches 
on  each  side  of  the  tear  only  far  enough  to  strengthen  the  worn  part, 
usually  a  quarter,  sometimes  an  eighth  of  an  inch,  is  sufficient. 
Continue  the  darn  an  eighth  of  an  inch  beyond  the  end  of  the  tear. 
The  repairing  shows  less  if  the  rows  of  darning  stitches  are  of  un- 
equal length.  In  darning  take  up  the  threads  of  cloth  passed  over 
in  the  preceding  row,  slipping  the  needle  over  one  edge  of  the  tear 
and  under  the  other  going  one  way  and  reversing  this  order  going  the 
other  way.  This  makes  the  edge  smooth  and  does  not  throw  it  up 
in  a  ridge.  If  the  material  to  be  darned  is  thin  or  stretches  easily, 
place  the  rent  over  a  piece  of  glazed  paper  and  baste  around  it  before 
darning.  If  the  cloth  is  wTorn  and  thin,  place  a  piece  of  cloth  under 

71 


SEWING 


and  darn  through  the  two  thicknesses.  Take  great  care  not  to  stretch 
the  hole  or  to  draw  the  threads  tight  enough  to  pucker. 

Gathering. — Gathering  is  an  uneven  stitch  made  by  passing  over 
twice  as  much  as  is  taken  on  the  needle.  When  the  thread  is  drawn 
up  this  gives  the  appearance  of  fine  gathering  on  the  right  side  and 
admits  of  considerable  cloth  being  gathered  into  a  small  space. 

Gathering  is  used  in  joining  a  full  part  to  a  straight  piece,  as  the 
skirt  to  the  band,  etc.  Gather  with  a  strong  single  thread  a  little 
longer  than  the  space  to  be  gathered.  Never  use  a  double  thread.  If 
the  thread  becomes  knotted  a  new  thread  must  be  put  in  from  the 
beginning.  Hold  the  cloth,  as  in  the  running  stitch,  with  the  rie;ht 
side  toward  you,  using  the  wrist  motion.  Make  a  large  knot  in  the 
thread  so  that  it  cannot  slip  through  the  cloth,  and  place  the  knot 
on  the  wrong  side.  At  the  end  of  the  gathering  slip  the  needle  off  and 
make  a  knot  in  the  thread,  that  it  may  not  pull  out. 

A.  STROKING  GATHERS. 

For  stroking  or  placing  gathers  use  a  coarse  needle  or  a  pin.  Draw 
up  the  gathering  thread  just  tightly  enough  so  that  the  pin  can  be 
easily  inserted  between  the  gathers  and  fasten  by  winding  over  a  pin 
placed  at  right  angles  to  the  last  stitch.  Begin  at  the  left  hand,  plac- 
ing the  pin  in  the  fold  of  the  first  stitch  and  stroke  gently  downward, 
holding  the  pin  obliquely.  After  each  successive  stroke  press  the  pleat 
underthethumbof  the  lefthand.  Continue  the  same  with  every  stitch. 

B.  SEWING  THE  GATHERED  PART  TO  THE  STRAIGHT  PIECE. 
Divide  both  into  halves,  quarters  or  eighths,  depending  upon  the 

length,  and  pin  the  points  of  division  together.  Draw  up  the  gather- 
ing thread  to  the  proper  length  and  fasten  by  winding  over  a  pin. 
Arrange  the  gathers  even  before  basting.  Baste  just  above  the 
gathers,  holding  the  gathered  piece  next  to  you.  Stitch  just  belozv  the 
gathering  thread. 

C.  GAUGING. 

Gauging  or  double  gathering  is  done  by  having  a  second  row  of 
gathering  stitches  of  equal  length  and  directly  below  those  of  the 
first  so  that  when  both  threads  are  drawn  up  the  cloth  lies  in  pleats. 

72 


DESCRIPTION  OF  STITCHES 


In  heavy  material  three  or  four  threads  may  be  put  in.  Gauging  is 
usually  used  on  heavy  material  or  on  a  folded  edge  that  is  to  be  over- 
handed  to  a  band. 

D.  GATHERING  BY  WHIPPING  A  ROLLED  EDGE. 
Ruffles  of  lawn,  linen  or  embroidery  are  sometimes  put  upon  the 
edge  instead  of  into  a  facing  or  seam,  and  when  so  placed  it  is  desirable 
to  avoid  the  raw  edge  on  the  under  side.  Hold  the  work  over  the  left 
forefinger  and  roll  the  edge  toward  you  between  the  thumb  and 
forefinger.  Place  the  needle  under  the  roll  on  the  right  side,  passing 
out  at  the  top  of  the  roll.  Whip  about  one  inch  and  draw  up  the 
thread.  It  is  necessary  to  use  a  strong  thread  for  whipping  and 
gathering  the  edge  of  a  ruffle. 

Half-Back  Stitch. — Half-back  stitching  is  similar  to  the  stitch- 
ing. The  long  forward  stitch  on  the  under  side  is  three  times  the 
length  of  the  backstitch  on  the  upper  side,  and  a  space  the  length 
of  the  backstitch  is  left  between  the  stitches.  See  Stitching,  page  75. 

Hemming. — A  hem  is  a  fold  made  by  twice  turningover  the  edge  of 
a  piece  of  cloth,  and  then  sewing  it  down.  The  first  fold  is  most  im- 
portant; if  that  is  turned  even  there  will  be  little  trouble  with  the 
second.  Trim  the  edge  of  the  cloth  before  turning  the  hem.  It  is  well  to 
make  and  use  a  gauge  of  the  required  width.  If  a  wide  hem  is  turned, 
baste  along  the  second  fold  or  bottom  of  the  hem  first,  and  then  at  the 
top.  On  woolen  goods  or  material  that  does  not  crease  easily  it  is 
necessary  to  baste  the  first  fold.  Either  bury  the  knot  between  the 
folds  of  the  hem  or  leave  one-half  inch  of  thread  and  hem  over  it. 

A.     HEMMING  STITCH. 

Hold  the  hem  across  the  cushion  of  the  left  forefinger  and  point 
the  needle  a  little  to  the  left  across  the  middle  of  the  thumb.  Take 
up  a  few  threads  of  the  cloth  and  a  few  threads  of  the  fold  and  draw 
the  needle  through.  Take  care  that  the  stitches  are  regular,  of  equal 
length  and  of  equal  distance  apart.  Do  not  confuse  the  hemming  stitch 
with  the  blind  stitch,  or  the  damask  hem.  Join  the  threads  by  leaving  a 

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half-inch  of  the  old  thread  and  a  half-inch  of  the  new  to  be  tucked 
under  the  edge  of  the  hem  and  be  hemmed  over. 

Teachers  will  find  the  following  suggestions  helpful  in  teaching  the 
hemming  stitch: 

Put  the  needle  in  almost  straight  with  the  hem,  not  at  right  angles 
to  it.  Take  up  as  little  cloth  on  the  needle  as  possible;  bring  the 
needle  directly  through  the  hem,  making  one  stitch  of  it  instead  of 
dividing  the  stitch  as  in  the  blind  stitch.  Crowd  the  point  of  the  needle 
under  the  edge  of  the  hem.  Do  not  insert  the  needle  a  distance  from 
the  hem,  trusting  to  puckering  it  up. 

B.     DAMASK  HEM. 

Damask  is  a  heavy  fabric  woven  of  heavy  threads  of  one  color  in 
which  the  pattern  is  brought  out  by  a  change  in  the  direction  of  the 
threads,  and  when  new  is  stiff  with  much  dressing.  From  the  very 
nature  of  the  cloth  it  is  impossible  to  hem  well  with  the  flat  hem. 
The  two  folds  of  the  hem  are  turned  the  desired  width  and  the  hem 
is  then  turned  back  flat  to  the  cloth  and  creased.  The  edge  of  the 
hem  and  the  crease  thus  formed  are  overhanded  together  with  fine 
even  stitches.  When  laundered  this  irons  perfectly  smooth  and  the 
stitches  do  not  show  on  the  right  side.  Do  not  confuse  this  method  of 
hemming  with  the  flat  hem,  as  each  has  its  own  use. 

Overcasting. — Overcasting  is  done  by  taking  loose  stitches  over 
the  raw  edge  of  cloth  from  right  to  left  to  keep  it  from  raveling.  The 
depth  of  the  stitch  depends  upon  the  material  to  be  overcast,  usually 
an  eighth  of  an  inch  is  sufficient.  The  stitches  should  be  twice  as  far 
apart  as  they  are  deep.  The  needle  is  inserted  from  the  under  side  of 
the  cloth  and  points  a  little  to  the  left,  making  a  slanting  stitch. 
Keep  the  spaces  even  and  the  stitches  of  equal  length.  Always  trim 
the  edges  before  overcasting.  Do  not  overcast  a  selvedge  edge.  Take 
only  one  stitch  at  a  time  and  be  careful  not  to  draw  the  edge  of  the 
cloth.  See  illustration  page  67. 

Overhanding. — Overhanding  is  done  by  sewing  closely  over  two 
edges  of  cloth  from  right  to  left.  The  cloth  may  have  a  folded  or 
selvedge  edge.  Careful  basting  is  necessary  to  good  Overhanding. 

74 


DESCRIPTION  OF  STITCHES 


The  needle  is  placed  at  a  right  angle  to  the  seam  and  should  point 
to  the  chest.  No  knot  is  used;  a  short  end  of  the  thread  is  left  and 
overhanded  under.  Hold  the  work  horizontally  along  the  edge  of  the 
cushion  of  the  left  forefinger  and  the  thumb.  Do  not  wind  the  cloth 
over  the  end  of  the  finger.  The  stitches  are  straight  on  the  under 
side  and  slanting  on  the  top.  Do  not  draw  the  threads  tight  enough 
to  make  a  hard  seam  and  also  avoid  a  loose  stitch  that  will  not  hold 
the  edges  together  when  the  seam  is  opened.  A  deep  stitch  is  not 
necessary  for  strength  and  will  not  look  well  on  the  right  side  when 
opened.  To  join  the  threads  leave  a  half-inch  of  the  old  and  a  half-inch 
of  the  new,  lay  them  along  the  edge  and  overhand  over  them. 

Running. — Running  is  done  by  taking  up  and  slipping  over  an 
equal  amount  of  cloth. 

Running  is  used  for  seams  that  do  not  require  great  strength,  and 
also  for  tucking.  Care  should  be  taken  not  to  draw  the  thread  tight 
enough  to  pucker.  Make  a  small  knot  in  the  thread  and  conceal 
it  on  the  wrong  side  or  in  the  folds  of  the  cloth.  Hold  the  work 
in  the  left  hand  between  the  thumb  and  cushion  of  the  forefinger; 
hold  the  needle  in  the  work  between  the  thumb  and  forefinger  of 
the  right  hand.  Use  the  wrist  motion. 

Fasten  the  thread  by  passing  the  needle  through  to  the  wrong 
side  and  taking  two  backstitches. 

Slip  Stitch. — See  Blind  Stitch,  page  66. 

Stitching. — Stitching  is  so  called  because  it  resembles  machine 
stitching.  It  is  also  known  as  back-stitching.  Stitching  is  done  by 
taking  a  stitch  backward  on  the  upper  side  of  the  cloth  and  a  long 
stitch  forward  on  the  underside,  making  the  stitches  meet  on  the  top 
as  in  machine  stitching.  Use  a  small  knot  in  beginning.  Hold  the 
work  over  the  cushion  of  the  left  forefinger. 

Fasten  the  threads  on  the  wrong  side  by  taking  several  back- 
stitches, one  over  the  other,  through  one  thickness  of  the  cloth.  To 
join  threads  in  stitching  fasten  securely  on  the  wrong  side  and  begin 
with  a  small  knot,  bringing  the  thread  through  at  the  proper  place 


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ORNAMENTAL    STITCHES 

1  —  The  chain  stitch.  4  —  The  herringbone  stitch. 

2  —  The  Kensington  stitch.  5  —  Three  styles  of  blanket  stitch. 

3  —  Two  styles  of  feather  stitching. 

76 


DESCRIPTION  OF  STITCHES 

for  beginning  the  new  stitch.  It  is  used  where  strength  is  required,  or 
on  garments  too  small  to  go  into  a  machine  conveniently.  See  illus- 
tration page  67. 

ORNAMENTAL  STITCHES. 

Applique. — This  is  an  ornamentation  produced  by  cutting  a  design 
from  one  kind  or  color  of  cloth  and  placing  it  upon  another.  Very 
beautiful  effects  can  be  obtained,  with  perfect  harmony  of  color  and 
the  proper  combinations  of  textiles.  The  edge  can  be  finished  with 
the  blanket,  couching,  Kensington  or  chain  stitch. 

Blanket  Stitch. — The  blanket  stitch,  often  erroneously  called 
the  buttonhole  stitch,  is  used  for  finishing  raw  edges.  It  is  worked 
from  left  to  right,  and  the  buttonhole  stitch  from  right  to  left.  See 
illustrations  on  pages  67  and  76.  The  depth  of  the  stitch  and  the 
space  between  stitches  may  be  varied  and  will  depend  upon  its  use. 
If  the  thread  is  not  fastened  and  joined  carefully  the  symmetry  of 
the  stitches  will  be  broken.  A  new  thread  must  come  up  through  the 
loop  of  the  last  stitch. 

A.  To  FINISH  THE  EDGE  OF  FLANNEL  OR  HEAVY  CLOTH. 
Insert  the  needle  at  a  point  the  desired  depth  of  the  blanket  stitch 

and  take  one  or  two  running  stitches  to  the  edge  of  the  cloth,  which 
will  bring  the  thread  in  position  for  the  first  stitch.  Make  the  first 
blanket  stitch  over  these  running  stitches.  Holding  the  edge  of  the 
cloth  toward  you  insert  the  needle  at  the  same  point  as  before  and 
bring  the  needle  out  over  the  thread  and  draw  the  loop  thus  made  to 
the  edge  of  the  cloth.  Repeat  for  successive  stitches.  For  a  simple 
finish  for  a  flannel  edge  the  stitches  should  not  be  placed  too  close 
together.  As  far  apart  as  the  depth  of  the  stitch  is  a  good  rule,  unless 
greater  ornamentation  is  desired,  when  three,  five  or  seven  stitches 
may  radiate  from  one  point. 

B.  FOR  EMBROIDERING  AN  EDGE — STRAIGHT,  SCALLOPED  OR 

IRREGULAR. 

The  stitches  are  the  same  as  in  "A"  but  should  be  placed  close 
enough  together  so  that  the  threads  touch,  making  a  firm  edge. 


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The  embroidery  should  be  done  before  the  edge  is  cut.  It  can  then 
be  finished  in  various  ways.  The  narrow  edge  can  be  turned  back 
and  whipped  down  on  the  wrong  side,  or  blanket  stitched  just  over 
the  edge  with  fine  cotton  thread.  On  lingerie  pieces  the  edge  is  not 
cut  until  after  the  first  laundering.  If  desired  the  edge  can  be  padded 
before  working  with  the  blanket  stitch.  The  padding  is  done  with 
a  soft,  coarse  thread  by  working  along  the  edge  with  either  the 
Kensington  or  chain  stitch,  or  it  may  be  heavily  "padded"  by  filling 
the  space. 

C.  The  blanket  stitch  is  also  used  for  working  the  blind  loop 
and  the  buttonhole  bar. 

D.  See  Couching,  below. 

E.  See  Lazy  Daisy  or  Star  Stitch,  page  82. 

Chain  Stitch. — The  chain  stitch  is  used  for  outlining  a  design, 
marking  garments,  etc.  Insert  the  needle  on  the  line  and  draw  the 
thread  through  to  the  knot.  Insert  again  at  the  same  point  and  take 
up  on  the  needle  cloth  for  the  desired  length  of  stitch  and  draw  the 
needle  out  over  the  thread.  In  placing  the  needle  for  succeeding 
stitches  begin  inside  the  preceding  stitch.  The  Half-Chain  Stitch 
is  very  effective  for  stems  of  flowers,  or  wherever  a  fine  outline  stitch 
can  be  used.  This  is  made  the  same  as  the  chain  stitch,  except  that 
the  needle  is  inserted  just  outside  and  to  the  right  of  the  loop  instead 
of  in  the  end  of  the  loop. 

Couching. — Couching  is  a  coarse  blanket  stitch  done  over  two  or 
three  strands  of  silk,  linen  or  cotton  floss.  It  makes  an  attractive 
finish  for  a  hem  line  and  also  for  finishing  the  edge  in  applique. 

Feather  Stitch. — (See  illustration  on  page  76.)  The  principal 
use  of  the  feather  stitch  being  that  of  ornamentation  requires  that 
it  shall  be  evenly  and  carefully  done,  or  it  fails  in  its  purpose.  The 
feather  stitch  consists  of  alternating  stitches,  or  groups  of  stitches, 
slanting  toward  a  center  line.  The  stitch  may  be  varied  greatly  by 
the  length  of  the  stitch,  the  slant  of  the  stitch,  and  the  number  of 
stitches  on  each  side.  The  tendency  is  to  gradually  increase  the  length 

78 


DESCRIPTION  OF  STITCHES 

of  the  stitch  which  must  be  carefully  avoided,  as  well  as  a  change 
in  the  slant.  Do  not  make  too  long  a  stitch,  as  there  is  danger  of 
catching  and  breaking  the  thread.  The  feather  stitch  can  be  used 
very  effectively  in  scroll  designs  for  the  ornamentation  of  sofa  pil- 
lows, cushion  covers,  collars,  underwear,  etc. 

A.  SINGLE  FEATHER  STITCHING. 

Work  toward  you,  holding  the  cloth  over  the  left  forefinger.  With 
a  knot  in  the  thread  insert  the  needle  from  the  under  side  a  short 
distance  to  the  right  or  left  of  the  line  the  feather  stitching  is  to  follow 
(which  may  be  designated  the  center  line)  and  draw  the  thread 
through.  Place  the  left  thumb  over  the  thread  to  hold  it  down,  and 
on  the  opposite  side  take  up  a  slanting  stitch,  the  top  of  which  is  as 
far  from  the  center  line  as  the  length  of  the  stitch,  and  the  bottom 
touching  the  center  line.  Draw  the  needle  out  over  the  thread  which 
will  thus  form  a  loop  of  the  thread  from  the  first  stitch.  On  the  op- 
posite side  take  up  another  slanting  stitch  the  top  of  which  is  an  equal 
distance  from  the  center  line  and  even  with  the  bottom  of  the  last 
stitch.  Repeat  for  successive  stitches.  At  the  end  of  a  thread  fasten 
by  passing  the  needle  down  where  the  thread  last  came  through  the 
cloth,  thus  holding  the  loop  from  the  last  stitch  in  place.  Begin  a 
new  thread  by  passing  the  needle  up  through  this  loop. 

B.  DOUBLE  FEATHER  STITCHING. 

This  consists  of  alternating  groups  of  two,  three  or  more  stitches 
instead  of  single  stitches.  The  successive  stitches  of  each  group  must 
be  placed  directly  under  the  first  stitch  of  the  group. 

French  Knot. — Bring  the  needle  through  from  the  under  side. 
With  the  needle  in  the  right  hand,  take  hold  of  the  thread  with  the 
left  hand  about  an  inch  from  the  cloth  and,  holding  it  taut,  wind  it 
several  times  around  the  point  of  the  needle.  Return  the  needle  to 
the  same  hole  through  which  it  came  out,  and  draw  it  back  to  the 
under  side. 

Hemstitching. — Hemstitching  is  a  method  of  hemming  in  which 
a  few  parallel  threads  are  drawn,  the  hem  turned  to  the  line  thus 


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SEWING 


formed,  and  hemmed  down  with  the  same  stitch  that  separates  the 
cross  threads  in  successive  clusters.  There  are  several  modifications 
of  the  hemstitch.  The  following  methods  have  been  selected  as 
being  the  best  for  four  reasons:  (1)  The  thread  is  thrown  under  the 
edge  of  the  hem,  and  consequently  wears  longer  and  shows  less.  (2) 
The  only  part  of  the  thread  showing  on  the  right  side  is  the  loop 
around  the  cross  threads.  (3)  It  is  readily  taught  to  children,  as  it 
is  simple,  easy  to  remember,  and  can  be  given  as  two  distinct  parts. 
(4)  It  is  the  natural  way  to  hold  the  hem. 

a.  Drawing  the   threads — Measuring   from   the   edge   of  the 
cloth,  allow  twice  the  width  of  the  desired  hem  when  finished, 
plus  the  first  fold,  and  draw  several  threads,  the  exact  number 
depending  upon  the  texture  of  the  fabric.    Draw  the  first  thread 
the  entire  length  before  starting  the  second,  as  it  is  liable  to 
break  where  the  first  one  did.    The  first  thread  being  drawn,  the 
second  will  come  more  readily.    Beginners  are  inclined  to  draw 
too  many  threads.    Unless  both  edges  are  to  be  hemstitched  the 
opening  should  be  narrow  enough  so  that  the  threads  at  the  top 
will  not  loosen. 

b.  The  Hem — Turn  the  first  fold  of  the  hem  and  baste  to  the 
exact  line  of  the  opening.    Careful  basting  is  indispensable  to 
good  hemstitching,  and  especially  so  at  a  corner  where  two  hems 
cross.    Miter  all  corners  of  hems  that  are  more  than  one-fourth 
of  an  inch  in  width. 

c.  The  Stitch — Hold  the  cloth  over  the  left  forefinger  as  in 
ordinary   hemming.     Bury   the   knot    by   inserting   the    needle 
under  the  edge  of  the  hem  and  drawing  it  through.    The  stitch 
consists  of  two  distinct  parts,  (1)  forming  the  loop  around  the 
cross  threads,  and  (2)  catching  down  to  the  edge  of  the  hem: 

(1)  Pointing  the  needle  toward  you  and  holding  the  thread 
under  the  left  thumb,  take  up  on  the  needle  three  or  four  of  the 
cross  threads.    Draw  the  needle  out  ever  the  thread,  thus  form- 
ing the  loop,  and  tight  enough  to  separate  the  cross  threads. 

(2)  Insert  the  needle  under  the  edge  of  the  hem  only  and  take 
an  ordinary  hemming  stitch.   Repeat  1  and  2  for  the  next  stitch. 


80 


DESCRIPTION  OF  STITCHES 

Herringbone  Stitch. — (See  illustration  on  page  76.)  The  her- 
ringbone or  catch  stitch  is  a  cross  stitch  used  to  finish  the  raw  edges 
of  flannel  or  heavy  material.  It  serves  both  the  purpose  of  overcast- 
ing over  a  raw  edge  and  that  of  hemming.  It  is  used  on  raw  edged 
hems  to  avoid  the  ridge  formed  by  the  first  fold  of  a  hem,  on  the 
flannel  patch  and  for  finishing  the  flannel  seam,  which  may  be 
pressed  open  and  both  single  edges  herringbone  stitched,  or  both  folded 
to  one  side  and  finished  over  the  double  edge.  In  most  cases  the 
open  seam  looks  better. 

The  stitch  consists  of  single,  alternating  running  stitches  made 
first  to  the  right  and  then  to  the  left,  working  from  you  instead  of 
toward  you  as  in  ordinary  running.  The  thread  being  carried  across 
from  one  stitch  to  another,  gives  the  appearance  of  a  cross  stitch. 
The  stitches  on  each  side  must  be  in  straight  rows,  with  the  outer 
row  just  over  the  edge  of  the  flannel.  The  stitch  should  be  no  deeper 
than  necessary  to  prevent  pulling  out.  A  good  rule  for  beginners  is 
to  make  the  top  of  each  stitch  even  with  the  bottom  of  the  last 
stitch.  Point  the  needle  toward  you  in  making  the  stitch,  but  work 
away  from  you.  The  edge  of  the  flannel  must  be  kept  smooth.  This 
being  a  cross  stitch  the  thread  of  one  part  of  the  stitch  is  on  top  and 
the  other  underneath.  Be  sure  that  this  is  regular,  those  slanting 
in  the  same  direction  should  be  always  either  to  the  top  or  to  the 
bottom. 

Kensington  Outline  Stitch.  —  (See  illustration  on  page  76.) 
This  stitch  is  used  to  follow  the  line  of  a  design  for  ornamentation. 
To  avoid  the  knot,  when  starting  begin  half  an  inch  from  the  end  of 
the  line  to  be  followed,  and  put  in  three  or  four  running  stitches, 
bringing  the  thread  out  at  the  proper  place  for  starting.  Turn  the 
cloth  around,  holding  it  over  the  left  forefinger,  and  work  from 
you.  Pointing  the  needle  toward  you,  take  a  short  running  stitch  di- 
rectly on  the  line  keeping  the  thread  always  on  the  right  side  of  the 
needle,  except  on  a  line  curving  sharply  to  the  left  when  the  thread 
will  fall  more  naturally  to  the  left  side.  The  thread  being  carried 
from  one  stitch  to  another  gives  the  effect  of  a  long  diagonal  stitch 


81 


SEWING 


on  the  right  side  and  running  stitches  on  the  wrong.  The  length  of 
the  stitch  will  be  determined  by  the  size  of  the  thread  and  the  char- 
acter of  the  line  to  be  covered,  a  curved  line  requiring  a  shorter 
stitch  than  a  straight  one. 

Lazy  Daisy  or  Star  Stitch. — This  is  a  variation  of  the  blanket 
stitch.  Insert  the  needle  at  the  point  desired  for  the  center  of  the 
flower  and  draw  the  thread  through.  Insert  again  at  the  same  place 
and  take  up  the  desired  length  of  stitch  on  the  needle,  drawing  the 
needle  out  over  the  thread.  Pass  the  needle  down  through  the  cloth 
at  the  point  where  it  came  out,  but  on  the  other  side  of  the  loop, 
thus  forming  a  second  loop  at  the  end  of  the  petal  to  hold  it  in  place, 
and  return  the  needle  again  to  the  center  of  the  flower.  Make  as 
many  petals  as  desired  and  finish  with  the  French  knot  in  the  center 
of  the  flower.  This  stitch  also  makes  a  pretty  star,  using  six  points 
and  finishing  without  the  French  knot. 

MISCELLANEOUS. 

Bands. — A  band  is  a  straight  piece  of  cloth  used  to  finish  garments 
at  the  neck,  wrist  or  waist.  It  may  be  sewed  to  a  straight,  gathered  or 
pleated  edge.  A  band  cut  with  the  warp  is  stronger  than  one  cut  with 
the  woof. 

A.  HEMMED  BAND. 

See  description  of  the  Gathering,  page  72.  Gather  as  desired. 
Place  the  right  sides  of  the  cloth  and  band  together  and  baste  just 
above  the  gathering  thread,  taking  care  that  the  gathers  are  arranged 
perfectly  even.  Stitch  just  below  the  gathering  thread.  Turn  in  a 
fourth  of  an  inch  at  the  ends  and  along  the  other  side  of  the  band. 
Fold  the  band  over  just  covering  the  gathers,  and  baste.  Hem  or 
stitch  along  the  edge,  overhanding  the  ends  of  the  band. 

B.  OVERHAND  BAND. 

See  description  of  Gauging,  page  72.  Make  the  band  by  turning 
in  one-fourth  of  an  inch  all  around,  folding  and  basting  the  edges 


82 


DESCRIPTION  OF  STITCHES 

together.  Overhand  the  ends  of  the  band.  The  whipping  of  the  full 
part  to  the  band  will  be  sufficient  to  hold  the  two  sides  of  the  band 
together.  Turn  back  the  raw  edges  of  the  piece  to  be  gathered  one- 
half  inch  and  gather  once,  twice  or  three  times  as  desired.  Pin  to  the 
band  and  overhand,  taking  a  stitch  for  each  pleat  of  the  gathers. 
Fasten  all  bands  very  securely. 

Bias. — A  bias  is  a  diagonal  cut.  To  cut  a  true  bias,  fold  over  the 
corner  of  the  cloth  so  that  the  warp  and  woof  threads  are  parallel. 
A  choice  bias  is  a  true  bias,  having  the  twill  of  the  cloth  at  right  angles 
to  the  cut.  Great  care  should  be  taken  in  measuring  and  cutting 
bias  strips  to  have  them  the  same  width  throughout  the  length. 
Also  avoid  stretching  after  cutting. 

a.  To  cut  a  bias  facing,  bias  binding  or  fold,  measure  in  the 
desired  \vidth  on  the  true  bias  at  a  number  of  points.    Draw  a 
line,  crease  in  a  fold  or  baste  where  the  facing  is  to  be  cut  off. 

b.  To  put  on  a  bias  facing,  place  the  edge  of  the  strip,  right 
sides  together,  even  with  the  edge  of  the  cloth  to  be  faced,  baste 
and  stitch.    Turn  the  facing  back  exactly  in  the  seam  and  baste 
along  the  edge  so  that  the  facing  will  not  show  on  the  right  side. 
Turn  the  fold  at  the  top,  baste  and  hem.     This  process  may  be 
reversed  for  a  right-side  facing. 

A  bias  facing  for  a  curve  should  be  cut  narrow  enough  so  that 
by  stretching  one  edge  of  the  facing  it  will  lie  perfectly  smooth 
when  finished. 

c.  To  join  two  bias  strips — Cut  tne  ends  to  be  joined  straight 
with  the  threads  of  the  cloth  and  place  the  right  sides  together, 
slipping  the  top  piece  past  the  under  piece  the  width  of  a  seam, 
but  having  the  top  edges  even.    Stitch  where  the  facings  cross, 
open  the  seam  and  crease;  or,  after  trimming,  a  seam  may  be 
turned  back  at  the  end  of  each  piece  and  the  folded  edges  over- 
handed  together. 

Cloth. — A  fabric  woven  of  fibers,  either  animal  or  vegetable.  The 
edges  of  cloth  are  known  as  the  selvage,  the  threads  running  length- 


83 


SEWING 


wise  the  warp,  and  those  crossing  the  warp  from  selvage  to  selvage 
the  woof.  The  selvage  should  be  trimmed  off,  as  it  is  hard  to  sew 
through  and  draws  up  when  wet. 

Eyelets  and  Loops. — An  eyelet  is  a  small  hole  made  and  worked 
in  a  garment  to  receive  a  cord,  stud  or  loop  of  a  button.  Punch  the 
hole  with  a  stiletto,  pushing  the  threads  apart  rather  than  breaking 
them.  Overhand  closely  from  right  to  left  with  short  even  stitches. 
A  large  eyelet  may  be  cut  out  and  worked  around  with  the  button- 
hole stitch.  A  blind  loop  is  made  in  place  of  the  eye  to  receive  a  hook. 
Put  three  or  four  long  stitches  in  the  same  place  beginning  at  the  left, 
so  that  the  thread  will  be  at  the  proper  place  for  working  the  loop 
with  the  blanket  stitch. 

Joining  and  Fastening  Thread. — When  sewing,  care  should 
be  taken  in  joining  threads.  The  manner  in  w7hich  it  is  done  depends 
upon  the  stitch  in  use.  In  hemming,  leave  a  half-inch  of  the  old  and 
a  half-inch  of  the  new  thread,  tuck  both  under  the  hem  and  continue 
hemming  over  the  threads.  The  same  plan  is  followed  in  overhand- 
ing.  In  the  blanket  stitch,  feather  stitch,  herringbone,  chain  and 
buttonhole  stitch  the  new  thread  must  come  out  through  the  last 
stitch.  Thoughtful  attention  should  be  given  to  the  fastening  of 
threads,  as  careful,  painstaking  work  may  soon  be  rendered  useless 
by  the  loosening  of  the  thread  from  the  end.  After  fastening  securely 
clip  off  all  threads  that  the  work  may  be  not  only  strong,  but  neat. 
The  usual  fastening  consists  of  several  backstitches  taken  in  the  same 
place. 

Mitered  Corner. — Two  hems  crossing  at  right  angles  may  be 
finished  either  with  the  square  or  the  mitered  corner.  To  miter  a 
corner,  turn  and  crease  a  quarter-inch  fold  on  both  sides.  Turn  the 
second  fold  of  the  hem  the  desired  width  on  both  sides  and  crease. 
Open  out  the  corner  and  place  a  dot  where  the  inner  creases  cross. 
Place  a  second  dot  a  quarter  of  an  inch  from  the  first  toward  the 
corner.  Through  this  second  point  draw  a  line  passing  from  side  to 
side,  across  the  corner,  being  careful  that  the  line  is  an  equal  distance 


84 


DESCRIPTION  OF  STITCHES 

from  the  corner  on  both  sides.  Cut  off  the  corner  on  this  line.  Fold 
both  hems  again  on  the  creases  before  made  and  pin  the  hem  on  one 
side  in  place.  Make  a  pin  hole  as  near  the  exact  point  where  the  hems 
cross  as  possible,  passing  through  both  hems.  Fold  in  the  bias  edge 
on  the  hem  that  is  not  pinned  down,  exactly  from  the  pin  hole  to  the 
corner,  causing  the  edges  of  the  two  hems  to  meet  at  an  angle  of 
forty-five  degrees. 

Patterns. — With  the  varied,  complex  and  ever-changing  styles  of 
fashion,  individual  pattern  drafting  (except  for  a  very  simple  article) 
is  impracticable,  usually  resulting  in  commonplace  garments  and 
involving  useless  time  and  labor.  For  the  trifling  sum  of  ten  of 
fifteen  cents  reliable,  up-to-date  patterns  can  be  secured  which  are 
cut  to  established  measurements  by  a  fashion  expert.  A  good  needle- 
woman supplies  herself  with  a  good  pattern  and  then  cuts  accurately, 
bastes  carefully,  and  finishes  neatly,  and  in  nearly  all  cases,  results 
will  be  satisfactory. 

Plackets. — A  placket  is  an  opening  made  in  a  garment.  There  are 
several  ways  of  finishing  an  opening,  but  in  all  cases,  except  when  the 
gusset  is  used,  the  underside  should  extend  some  distance  under  the 
top  to  prevent  gaping. 

A.     A  PLACKET  WITH  A  CONTINUOUS  BINDING. 

This  is  the  placket  used  on  children's  drawers,  night  shirts,  under 
garments,  etc. 

Cut  the  opening  the  desired  length.  Cut  the  facing  with  the  warp 
a  little  more  than  twice  the  length  of  the  opening  and  twice  the  de- 
sired width  wThen  finished,  plus  one-fourth  inch,  or  more,  allowed  for 
seams.  The  following  are  the  successive  steps  for  making  the 
placket: 

a.  Fold  the  cloth,  right  sides  together,  in   a  line  with  the 
opening. 

b.  Double  the  facing  across  the  warp,  through  the  center, 
wrong  sides  together. 


85 


SEWING 


c.  Slip  this  between  the  folds  of  the  cloth  so  that  the  fold  of 
the  facing  will  just  come  to  the  end  of  the  opening.    This  will 
bring  the  right  side  of  facing  to  the  right  side  of  the  cloth. 

d.  Baste  the  facing  to  the  cloth  down  one  side  and  up  the 
other  side  of  the  opening. 


TO    ILLUSTRATE    PLACKETS,    NIGHTGOWN    OPENING    AND    BANDS    (FRONT    VIEW* 

e.  Stitch  with  an  eighth  of  an  inch  seam,  which  will  render 
unavoidable  a  small  pleat  at  the  end  of  the  opening  the  width  of 
the  seam. 

f.  Crease  the  facing  back  over  the  opening  exactly  in  the  seam. 


86 


DESCRIPTION 


O  F 


STITCHES 


g.  Turn  an  eighth  of  an  inch  fold  the  length  of  the  facing 
down  the  other  side. 

h.     Fold  this  over  the  seam  to  the  stitching,  baste,  and  hem. 

i.  At  the  top  of  the  opening  fold  the  right-hand  facing  back 
and  stitch  along  the  edge  to  hold  in  place. 


TO    ILLUSTRATE    PLACKETS,    NIGHTGOWN    OPENING    AND    BANDS    (BACK    VIEW) 

B.     A  PLACKET  WITH  AN  EXTENSION  HEM  ON  ONE  SIDE  AND  A 

FLAT  FACING  ON  THE  OTHER. 

This  is  the  placket  used  on  dress  skirts,  petticoats  and  carefully 
tailored  garments. 


87 


SEWING 


Follow  the  directions  for  the  successive  steps  for  making 
Placket  A  through  "g,"  as  the  two  plackets  are  the  same  to  this 
point. 

The  left  side  of  the  facing  will  consist  of  an  extension  hem  the  same 
as  in  Placket  A,  the  only  difference  in  the  plackets  being  the  manner 
of  finishing  the  right  side  or  top  facing. 

h.  After  turning  the  fold  the  length  of  the  facing,  place  the 
edge  of  this  fold  to  the  stitching  on  the  other  side  of  the  seam, 
and  crease  the  facing  through  the  center  the  long  way,  as  in 
Placket  A. 

i.  As  the  right  side  is  to  be  hemmed  down  as  a  facing,  it 
is  desirable  to  cut  out  one  thickness  of  the  cloth,  leaving,  of 
course,  the  quarter-inch  inside  the  long  crease,  and  also  at 
the  cross  fold,  at  the  end  of  the  opening  as  the  first  fold  on 
the  facing. 

j.      Baste  this  facing  flat  to  the  cloth,  and  hem. 
k.     Stitch  once  across  the  top  facing  only,  just  at  the  bottom 
end  of  the  opening. 

C.  A  FINISH  FOR  A  SHIRT  SLEEVE  OR  NIGHTGOWN  OPENING. 
As  this  consists  of  an  extra  piece  which  extends  over  the  opening,  it 
is  necessary  to  allow  for  this  in  cutting,  so  that  the  middle  of  this 
piece  will  come  in  the  center  when  finished.  \Vhen  cutting  this  open- 
ing in  a  nightgown,  cut  to  the  right  of  the  center  one-half  the  width 
the  facing  is  to  be  when  finished.  The  following  are  the  successive 
steps  for  making  the  nightgown  opening: 

a.  Cut  the  opening  the  desired  length.    Cut  the  facing  in  two 
pieces,  one  a  little  more  than  twice  the  length  of  the  opening,  and 
the  other  the  length  of  the  opening  plus  the  width  of  the  facing, 
both  pieces  to  be  the  desired  width  plus  the  allowance  for  seams. 
(These  two  pieces  will  be  designated  the  long  and  the  short 
facings.) 

b.  Place  the  short  facing  to  the  right-hand  side  of  the  open- 
ing, right  sides  of  cloth  together  and  even  at  the  top.     Pin  in 
place. 


88 


DESCRIPTION 


O  F 


STITCHES 


c.  Place  the  long  facing  to  the  back  of  this  same  side  with  the 
right  side  of  facing  to  the  wrong  side  of  the  cloth,  thus  having  the 
three  thicknesses  of  cloth  together.  Pin  in  place  and  baste  a  quar- 
ter of  an  inch  from  the  edge.  Stitch  an  eighth  of  an  inch  seam. 

d.  The  long  facing  is  a  continu- 
ous facing,  the  same  as  in   Plackets 
A  and  B.     Baste  up  the  other  side 
and  stitch,  the   seam   being  on   the 
right  side  of  the  cloth. 

e.  Crease   both    facings  open   in 
the   seams.     Turn   in  a  fold  on  the 
other  side  of  the   short  facing  and 
turn  the  end  to  a  square  point. 

f.  Turn  a  fold  the  length  of  the 
long  facing  so    that   it  matches  the 
width  of  the  short  piece. 

g.  Baste  the  two  facings  together 
and  the  flat  facing  to  the  cloth. 

h.  Stitch  around  the  short  facing 
and  twice  across  it  at  the  end  of  the 
opening.  Stitch  or  hem  the  under 
side  of  the  fiat  facing. 

D.     THE  GUSSET. 

This  method  of  finishing  an  opening  is 
sometimes  used  on  drawers  and  night- 
shirts instead  of  Placket  A.  The  follow- 
ing are  the  successive  steps  for  making 
the  gusset: 

a.  Cut  the  opening  the  desired  length. 

b.  Hem  both  sides  with   a  very  narrow  hem  running  to  a 
point  at  the  end  of  the  opening. 

c.  Cut  a  piece  of  cloth  one  and  one-half  inches  square.    On 
this  square  fold  down  one  corner  three-fourths  of  an  inch  on  the 
sides  and  cut  it  ofF.   Turn  a  fold  one-eighth  of  an  inch  all  around 


FORMATION    OF    GUSSET. 


89 


SEWING 


this  piece.     Place  the  corner  which  is  opposite  the  diagonal  cut 
to  the  middle  of  this  cut  and  crease. 

d.  To  sew  the  gusset  in,  place  the  apex  of  the  triangle  to  the 
end  of  the  opening  and  overhand  on  the  wrong  side  to  the  crease 
before  made. 

e.  Fold  over  the  remaining  part  to  the  wrong  side,  baste  and 
hem.     Stitch  along  the  fold  of  the  gusset  to  strengthen  it. 

Putting  in  Sleeves. — After  trimming  the  arm  hole,  measure  one 
inch  back  from  the  shoulder  seam  and  mark  with  a  pin.  Fold  the 
garment  at  the  arm  hole  with  this  pin  at  the  top  of  the  fold  and 
place  another  directly  opposite  it.  Call  this  point  A.  Remove  the 
first  pin  to  avoid  confusion.  For  a  sleeve  for  an  adult,  measure  from 
the  shoulder  seam  five  inches  on  the  front  and  mark  with  a  pin. 
Call  this  point  B.  Measure  from  the  shoulder  seam  three  inches 
on  the  back  and  mark  with  a  pin.  Call  this  point  C.  With  the 
sleeve  right  side  out  place  the  under  seam  of  the  sleeve  at  A  and 
pin  together  at  this  point.  The  gathers  are  to  come  at  the  top  of 
the  sleeve  between  B  and  C.  For  misses  and  children  the  measure- 
ments should  be  decreased  proportionately.  Measure  the  sleeve  on 
the  arm-hole  and  cut  small  notches  at  B  and  C.  Gather  the  sleeve 
between  these  notches  one-fourth  of  an  inch  from  the  edge,  with  a 
strong  thread  a  little  longer  than  the  distance  to  be  gathered.  Put  in 
a  second  gathering  one-eighth  of  an  inch  from  the  first.  Put  in  place 
at  points  A  B  and  C;  draw  up  the  gathering  threads  to  the  proper 
length  and  fasten  by  winding  around  a  pin.  Arrange  the  gathers 
between  B  and  C,  pushing  them  a  little  closer  together  in  front  of 
the  shoulder  seam.  Hold  the  inside  of  the  sleeve  next  to  you  and, 
beginning  at  B,  baste  first  around  the  plain  part,  then  the  gathered 
part.  Stitch  inside  the  basting  and  bind  the  seam. 

The  shirt  sleeve  is  put  in  before  the  under-arm  seam  is  stitched 
up  and  the  sleeve  seam  is  a  continuation  of  the  under-arm  seam. 

Seams. — A  seam  is  formed  by  sewing  together  two  pieces  of  cloth. 
There  are  several  different  methods  of  joining  them.  Those  known  as 
the  raw  seams  may  be  joined  by  stitching,  half-back  stitching,  over- 


90 


DESCRIPTION  OF  STITCHES 

handing  or  the  combination  stitch.  The  closed  or  finished  seams  are 
known  as  the  French  Fell,  French  Seam,  Hemmed  Seam,  Flannel 
Seam  and  the  Bound  Seam.  No  garment  should  be  finished  with  a 
raw  seam,  which  is  only  properly  used  when  covered  with  a  lining, 
or  as  the  first  step  in  one  of  the  finished  seams. 

A.  FRENCH  FELL. 

Place  the  two  pieces  to  be  joined,  right  sides  together,  edges  even 
and  baste  one-fourth  of  an  inch  from  the  edge.  Sew  with  the  com- 
bination stitch  (or  machine  stitching)  three-eighths  of  an  inch  from 
the  edge.  Trim  three-sixteenths  of  an  inch  from  the  under  side  of  the 
seam  and  crease  the  upper  side  of  the  seam  over  this.  (In  hand  sewing 
there  is  a  long  stitch  on  the  under  side.  Be  sure  to  trim  from  this 
side  so  that  the  short  stitch  comes  on  the  top.)  On  the  right  side  of 
the  garment  crease  carefully  and  baste  along  the  edge  of  the  seam  to 
prevent  the  fullness  which  beginners  are  so  liable  to  have  over  the 
French  Fell  on  the  right  side.  Turn  to  the  wrong  side,  baste  the 
seam  flat  to  the  cloth,  and  hem. 

B.  FRENCH  SEAM. 

Place  together  the  wrong  sides  of  the  pieces  to  be  joined,  and  baste 
one-fourth  of  an  inch  from  the  edge.  With  the  running  stitch  sew 
one-eighth  of  an  inch  from  the  edge.  Carefully  trim  off  the  ravelings, 
fold  the  right  sides  together  and  crease  exactly  in  the  seam,  baste  and 
stitch  the  seam,  taking  care  that  no  ravelings  can  be  seen  and  that  the 
seam  is  perfectly  smooth  on  the  right  side. 

C.  HEMMED  SEAM. 

This  is  used  for  joining  thin  material,  lace,  etc.  On  one  piece  fold 
an  eighth  of  an  inch  seam  (or  more,  if  necessary)  to  the  right  side  of 
the  cloth,  and  on  the  other  piece  fold  an  eighth  of  an  inch  seam  to  the 
wrong  side.  Place  the  right  sides  of  the  two  pieces  together  with  the 
raw  edge  of  one  piece  under  and  to  the  folded  edge  of  the  other.  Baste 
this  fold  down  over  the  raw  edge  sewing  through  the  three  thicknesses 
of  cloth.  Fold  over  in  the  crease  and  baste  through  the  four  thick- 
nesses. Stitch,  or  hem  by  hand,  along  the  edge  of  the  seam  on  both 
sides  of  the  cloth. 


91 


SEWING 


D.  FLANNEL  SEAM. 

The  flannel  seam  is  used  on  material  so  thick  that  it  is  necessary  to 
finish  over  a  raw  edge,  instead  of  with  a  seam  involving  several 
thicknesses  of  cloth.  Place  together  the  right  sides  of  the  two  pieces 
to  be  joined  and  baste  one-eighth  of  an  inch  from  the  edge.  Stitch 
one-fourth. of  an  inch  from  the  edge  and  remove  the  bastings.  Trim 
the  seams  smooth,  open  and  baste  flat  to  the  cloth.  Herringbone 
stitch  over  the  raw  edge  of  both  sides  of  the  seam.  One  side  of 
the  herringbone  stitch  should  come  just  over  the  raw  edge  of  the 
flannel.  The  edges  must  be  kept  smooth,  and  unless  the  flannel 
ravels  easily,  the  herringbone  stitch  should  be  not  over  one-eighth 
of  an  inch  deep  and  close  together.  This  stitch  is  used  also  on  the 
flannel  patch. 

E.  BOUND  SEAM. 

Seams  may  be  bound  with  the  two  parts  of  the  seam  together,  or 
they  may  be  pressed  open  and  bound  separately.  This  may  be  done 
with  a  bias  strip,  binding  ribbon  or  tape. 

a.  Binding  the  Entire   Seam — Place  together  the  two  right 
sides  of  the  pieces  to  be  joined  and  baste  one-eighth  of  an  inch 
from  the  edge.    Place  the  bias  binding  (three-fourths  of  an  inch 
wide)  with  the  wrong  side  of  the  cloth  up  and  the  edge  of  the 
binding  one-eighth  of  an  inch  from  the  edge  of  the  seam,  and 
baste  in  place.    Stitch  through  the  three  thicknesses  of  cloth  a 
quarter  of  an  inch  from  the  edge.   Turn  in  one-eighth  of  an  inch 
on  the  other  side  of  the  binding  and  hem  it  down  just  above  the 
stitching  on  the  other  side  of  the  seam.    This  method  of  binding 
is  used  on  the  arm-holes  of  garments  or  wherever  it  is  not  feasible 
to  open  the  seam  and  bind  separately. 

b.  The  Open  Bound  Seam — Prepare  the  seam  as  above  with- 
out the  bias  binding.  Trim  and  press  the  seam  open.   Double  the 
binding  ribbon  through  the  center  and  crease.    Place  the  raw 
edge  of  the  seam  to  the  fold  of  the  ribbon  and  run  along  the  edge, 
catching  through  to  the  under  fold.     Tape  may  be  used   for 
binding,  but  must  be  basted  on  first  and  hemmed  down. 

92 


DESCRIPTION  OF  STITCHES 

Sewing  on  Buttons. — There  are  two  important  requirements 
for  sewing  on  buttons — to  put  in  sufficient  thread,  and  to  fasten  this 
thread  securely  that  it  may  not  loosen  from  the  end.  In  sewing 
flat  buttons  on  coats,  jackets,  etc.,  place  a  small  button  on  the  under 
side  and  sew  through  it  to  avoid  having  the  stitches  show  on  the 
under  side. 

a.  The  Loop  or  Shank  Button— Place  the  button  in  position 
with  the  loop  at  right  angles  to  the  edge  of  the  cloth.    Hold  the 
button  with  the  left  hand  and  overhand  the  loop  to  the  cloth. 
Pass  the  thread  to  the  under  side  and  fasten. 

b.  Four-hole   Button — In  sewing  on  flat  buttons   insert   the 
needle  from  the  right  side  and  back  in  order  to  hide  the  knot 
under  the  button.    Place  the  button  in  position  and  hold  a  pin 
across  the  button  for  the  purpose  of  lengthening  the  stitches. 
Put  in  five  or  six  stitches  diagonally  across  the  button  and  over 
the  pin.    Change  the  position  of  the  pin  and  repeat.    Slip  the  pin 
out,  pass  the  needle  through  the  cloth  only,  and  wind  the  thread 
around  the  threads  between  the  button  and  the  cloth.    Pass  the 
needle  through  the  cloth  and  fasten  securely. 

c.  Two-hole  Button — Place   the   button   so  that  the  stitches 
will  come  at  right  angles  to  the  edge  of  the  cloth,  with  the  pin 
across  the  button.    Proceed  as  with  the  four-hole  button. 

Sewing  on  Hooks  and  Eyes. — In  sewing  hooks  and  eyes  on  a 
garment  it  is  best,  where  practicable,  to  cover  the  ends  with  the  lining 
of  the  garment  or  with  a  piece  of  tape.  In  sewing  them  on  the  edge  of 
a  hem  or  facing  turn  the  edge  of  the  hem  back  over  the  ends  of  the 
hooks  and  eyes  and  hem  it  down.  Where  they  are  to  be  covered  they 
should  be  strongly  overhanded  to  the  garment  first.  When  covering 
is  not  feasible  place  the  hook  or  eye  in  position  and  buttonhole 
around  the  top,  beginning  at  the  righ-hand  side  and  inserting  the 
needle  under  and  up  through  the  hole,  throwing  the  thread  around 
the  needle  as  in  the  buttonhole  stitch.  The  hook  should  be  sewed 
down  at  the  point  before  breaking  the  thread.  The  worked  loop  is 
often  used  in  place  of  the  metal  eye.  For  this  purpose  cut  a  stiff 


93 


SEWING 


pointed  piece  of  cardboard  the  length  of  the  desired  loop  and  work 
the  loop  over  this,  when  the  cardboard  can  be  easily  slipped  out. 
The  loop  is  worked  from  left  to  right  with  the  blanket  stitch  the  same 
as  the  bar  of  the  buttonhole. 

Sewing  on  Lace. — When  sewing  lace  to  an  edge  always  hold  the 
lace  next  to  you.  Lace  may  be  put  on  straight  01  gathered.  At  the  top 
of  most  laces  will  be  found  a  coarse  thread  woven  into  the  lace  for 
the  purpose  of  gathering.  Before  drawing  this  up  divide  the  lace  and 
the  edge  upon  which  it  is  to  be  placed  into  halves,  quarters  or  eighths, 
depending  upon  the  length,  and  pin,  with  right  sides  together,  at 
points  of  division.  Then  draw  up  the  thread,  arrange  the  gathers 
even,  and  overhand  to  the  edge  with  fine  even  stitches.  If  the 
gathering  thread  is  not  in  the  lace,  put  it  in  and  proceed  as  above.  If 
the  lace  is  to  be  put  on  plain  hold  it  loosely  to  the  edge  and  overhand. 
A.  SEWING  LACE  AROUND  A  CORNER. 

When  sewing  the  lace  on  plain  to  round  a  corner,  overhand  to  a 
point  as  far  from  the  corner  as  the  width  of  the  lace.  (This  point  may 
be  designated  A,  and  a  point  an  equal  distance  from  the  corner  on  the 
other  side  B.)  From  A  measure  on  the  lace  twice  its  width  and  pin  at 
the  corner.  Allow  the  same  fullness  on  the  other  side  and  pin  at  B. 
Continue  overhanding  from  B,  leaving  the  corner  until  later,  when 
the  gathering  thread  will  be  put  in,  gathers  arranged  and  the  lace 
overhanded  to  the  edge.  If  the  lace  is  wide  baste  it  in  place  at  the 
corners  before  overhanding. 

When  sewing  gathered  lace  to  an  edge,  to  round  a  corner  proceed  as 
above  with  this  exception:  The  same  fullness  must  be  allowed  on  the 
corner  that  is  allowed  on  the  straight  edge,  in  addition  to  that  re- 
quired to  carry  the  lace  around  the  corner  without  drawing.  For 
example:  If  one-half  the  length  of  the  lace  is  allowed  for  fullness  on 
the  straight  edge,  at  the  corner  allow  two  and  one-half  times  the 
width  of  the  lace  instead  of  twice  its  width. 

B.     SEWING  Two  ENDS  OF  LACE  TOGETHER. 

The  manner  of  sewing  two  ends  of  lace  together  will  depend  upon 
the  kind  of  lace  to  be  joined,  the  pattern,  strength,  etc.  The  first 


94 


DESCRIPTION  OF  STITCHES 

aim  to  be  considered  is  to  have  the  joining  strong  enough  so  that  it 
will  not  pull  apart.  The  second  is  to  join  it  so  that  it  will  show  as 
little  as  possible.  Several  methods  are  suggested: 

a.  Lace  made  up  of  units  can  be  easily  joined  by  overhanding 
these  units  together. 

b.  If  the  pattern  permits,  cut  the  lace  with  the  pattern,  lay 
one  edge  over  the  other  and  buttonhole  over  each  raw  edge  with 
fine  thread. 

c.  Sewr  the  lace  right  sides  together,  in  a  narrow  seam.    Lay 
the  seam  flat  and  buttonhole  over  the  raw  edge  and  at  the  same 
time  down  to  the  lace. 

d.  Turn  a  narrow  fold  on  one  piece  to  the  right  side  and  on 
the  other  piece  to  the  wrong  side,  slip  one  under  the  other  and 
hem  down  the  two  edges  as  in  the  hemmed  seam. 

Tucking. — Crease  the  first  tuck  where  desired.  P'or  the  second 
tuck  measure  from  the  first  and  allow  twice  the  width  of  the  tuck 
plus  the  desired  space  between.  Repeat  for  the  successive  tucks. 

Putting  a  Ruffle  into  a  Hem-Tuck. — This  makes  an  excel- 
lent finish  for  the  bottom  of  petticoats  and  drawers.  Measure  up 
from  the  bottom  twice  the  width  of  the  desired  hem  plus  one-fourth 
of  an  inch  for  the  seam  and  crease  for  a  tuck.  Stitch  the  tuck.  This 
will  leave  the  raw  edge  extending  one-fourth  of  an  inch  below  the 
edge  of  the  tuck.  Place  the  ruffle  along  this  edge,  wrong  sides  to- 
gether, and  baste  in  a  quarter  inch  seam.  Baste  the  tuck  over  the 
seam  and  stitch  along  the  edge. 


95 


CHAPTER  VIII. 

TEXTILE  FIBERS  AND  FABRICS. 

The  fibers  used  in  the  manufacture  of  cloth  are  of  two  different 
natures,  vegetable  and  animal. 

The  vegetable  fibers  may  be  divided  into  three  distinct  classes: 

1.  The  cotton  having  soft,  lint-like  fibers,  one-half  to  two 
inches  in  length,  is  obtained  from  the  seed-pods,  called  "bolls." 

2.  The  fibers  from  flax,  hemp  and  jute  are  flexible  and  of 
soft  texture,  ten  to  one  hundred  inches  in  length. 

3.  The  hard  or  leaf  fibers,  including  manila,  sisal,  istle  and 
the  New  Zealand  fibers,  all  having  rather  stiff  woody  fibers,  one 
to  ten  feet  long,  are  obtained  from  the  leaf  or  the  leaf  stem. 

The  animal  fibers  are  obtained  from  the  wool  bearing  animals  such 
as  common  sheep,  Angora  and  Cashmere  goats  and  the  hair  of  the 
camel. 

The  silk  fiber  is  obtained  from  the  cocoon  of  a  caterpillar. 

SILK. 

Silk  is  the  most  beautiful  of  all  fabrics.  It  is  made  from  the  fiber 
produced  by  the  silk-worm  which  is  a  species  of  caterpillar.  So  per- 
fectly does  this  little  worm  do  its  work  that  no  spinning  is  required. 
This  fiber,  placed  under  a  microscope,  looks  like  a  glass  thread.  It  is 
the  light  playing  along  this  smooth  surface  that  gives  to  silk  its 
beautiful  luster. 

Silk  first  came  to  Europe  from  China  where  the  industry  had  been 
cultivated  for  many  centuries.  It  is  said  this  was  begun  by  a  woman, 
the  wife  of  an  Emperor,  in  the  year  2600  B.  C.,  and  the  culture  of  the 
mulberry,  upon  the  leaves  of  which  the  silk-worm  feeds  and  thrives, 
forty  years  later. 

Several  unsuccessful  attempts  have  been  made  to  introduce  the 
cultivation  of  the  silk  industry  into  the  United  States.  As  the  business 
requires  a  large  amount  of  cheap  labor  for  a  short  time  during  the 


96 


TEXTILE   FIBERS   AND   FABRICS 

year,  it  has  not  as  yet  been  found  profitable.  Machines  are  of  little 
use,  except  in  reeling  the  silk. 

The  moth  lays  its  eggs,  about  five  hundred  in  number,  in  August 
or  September,  and  they  hatch  the  following  May,  just  at  the  time  the 
mulberry  comes  into  leaf.  These  little  caterpillars  are  hatched  and 
fed  in-doors,  and  they  eat  like  hungry  school-boys  for  a  month  or 
more,  until  they  are  about  three  inches  long.  At  this  period  they 
sicken  and  cast  their  skins,  after  which  they  begin  eating  as  eagerly 
as  ever.  In  about  a  month,  however,  the  worms  stop  eating  alto- 
gether, crawl  up  on  the  twigs  which  are  placed  on  large  trays,  and 
begin  to  spin  their  cocoons.  There  are  two  little  openings  in  the  head 
of  the  worm,  from  which  comes  two  thread-like  substances  resembling 
glue,  from  which  the  silk  is  made.  These  stick  close  together  and 
form  a  flat  thread.  The  silkworm  by  moving  its  head  about,  wraps 
this  thread  around  its  body,  wrapping  from  the  outside  inward, 
until  it  has  completely  inclosed  itself  in  this  silken  blanket.  Then 
it  goes  to  sleep.  If  left  to  itself  it  would  in  two  or  three  weeks  bore 
its  way  out  of  this  silky  covering  and  come  forth  a  feeble  white 
moth.  But  as  the  cutting  of  this  hole  in  the  cocoon  injures  the  fibers, 
only  just  enough  for  the  next  year's  crop  are  allowed  to  come  out. 
The  rest  are  stifled  in  a  hot  oven. 

After  the  outsides  of  the  cocoons  are  removed  they  are  placed  in 
hot  water  which  softens  the  gum  that  is  in  the  silk  so  that  it  can  be 
wound  ofF  on  reels.  The  silk  fiber  is  all  in  one  piece,  and  about  one 
thousand  feet  long.  There  is  always  a  portion  of  the  cocoon  which  is 
too  tangled  to  be  wound,  and  it  is  made  into  what  is  called  spun  silk. 
Spun  silk  is  carded  like  wool.  The  removal  of  the  natural  gum,  by 
boiling  in  strong  soap  suds,  effects  a  considerable  loss  in  weight,  the 
cleansing  process,  however,  causing  it  to  take  on  very  beautiful  tints. 
This  loss  has  led  to  the  weighting  of  silk  by  mixing  cheaper  materials 
with  it. 

An  artificial  silk  is  made  from  the  fiber  of  the  ramie  plant  which 
grows  in  China  and  Malay.  This  is  sometimes  known  as  China  silk. 
Mercerized  cotton  has  also  been  treated  so  as  to  very  successfully 
imitate  silk. 


97 


SEWING 


COTTON. 

The  Plant. — Cotton  is  one  of  the  most  important  vegetable 
fibers,  distinguished  from  all  other  fibers  by  the  peculiar  twist  it 
possesses  which  makes  it  especially  adapted  to  spinning.  It  is  cul- 
tivated between  the  twentieth  and  thirty-fifth  parallels  north  of 
the  equator.  This  is  known  as  the  cotton  belt.  Within  this  belt  lie 
the  cotton  districts  of  the  United  States,  Northern  Mexico,  Egypt, 
Northern  Africa,  Asia  and  India. 

Although  cotton  is  cultivated  mainly  for  the  fiber  surrounding 
the  seeds,  its  by-products,  the  seeds  and  stalks,  are  of  great  com- 
mercial importance,  being  manufactured  into  oil-meal,  oil  cakes, 
cottolene,  etc.  There  are  about  fifty  species  of  the  cotton  plant  but 
only  a  few  are  cultivated,  the  best  known  and  most  commonly  used 
being  the  "  American  Upland,"  which  is  now  cultivated  in  many  parts 
of  the  world.  The  two  varieties  grown  in  the  United  States  are  the 
"Sea  Island"  and  the  "Upland."  The  former  is  much  more  valuable 
because  its  fiber  is  longer.  It  is  cultivated  on  the  islands  and  low-lying 
coasts  of  South  Carolina,  Georgia  and  Florida.  The  latter,  while  not 
so  valuable,  furnishes  most  of  the  crop  and  is  grown  over  a  wide  area. 

The  plant  grows  from  seven  to  ten  feet  high.  The  leaves  are 
sprinkled  with  small  black  dots.  The  hollyhock-like  flowers  are 
white  and  yellow  when  they  first  open,  but  two  days  later  they  turn 
a  dull  red.  Surrounding  the  flowers  are  three  or  four  cup-shaped 
green  leaves  which  together  are  called  squares.  These  remain  after 
the  petals  have  dropped,  to  serve  as  a  protection  to  the  bolls. 

Cotton  thrives  best  in  a  rich,  deep  soil  with  a  hot,  steamy  at- 
mosphere. It  should  have  plenty  of  moisture  while  growing  and  a 
dryer  period  during  the  ripening  and  gathering  of  the  crop.  The 
most  of  the  cotton  crop  is  planted  by  the  twentieth  of  May.  Six 
weeks  after  it  begins  blossoming  the  first  bolls  are  ready  for  picking. 
This  is  done  by  hand,  and  as  the  bolls  do  not  all  ripen  at  the  same 
time,  it  is  necessary  to  go  over  the  field  many  times,  and  the  picking 
often  lasts  until  'the  middle  of  December.  The  cotton  is  gathered 
into  baskets  hung  from  the  shoulders  of  the  pickers. 


98 


TEXTILE       FIBERS      AND       FABRICS 


The  Preparation  of  the  Fiber. — After  the  cotton  is  picked 
it  is  taken  to  the  gin  which  separates  the  fiber  from  the  seed.  Until 
the  cotton  gin  was  invented  in  1793,  by  a  Connecticut  teacher,  then 
living  in  Georgia,  the  cultivation  of  cotton  was  not  profitable,  as  one 
person  could  only  clear  the  seeds  from  five  or  six  pounds  a  day.  This 
machine  has  revolving  teeth  which  drag  the  cotton  between  parallel 
wires,  leaving  the  seeds  behind.  With  this  machine  a  slave  could 
clean  about  a  thousand  pounds  in  a  day.  This  gave  a  wonderful 
impetus  to  the  cotton  industry,  and  its  cultivation  increased  enor- 
mously. 

After  the  seeds  are  removed  the  cotton  is  put  up  into  bales  weighing 
about  five  hundred  pounds  each,  and  is  then  ready  for  shipping. 
When  these  bales  are  received  at  the  factory  the  cotton  is  so  closely 
matted  together  that  it  must  be  broken  up  or  loosened.  This  is  done 
in  the  blending  room  where  it  is  first  run  through  heavily  weighted 
and  spiked  rollers  which  pull  the  cotton  apart.  It  is  then  blended  or 
mixed  to  make  it  of  uniform  quality.  After  this  it  is  taken  to  the 
carding  room.  Here  the  fibers  are  drawn  parallel  to  one  another  and 
bits  of  leaves  and  unripe  fibers  removed,  when  it  is  put  through  the 
drawing  frame,  consisting  of  a  pair  of  rollers.  These  parallel,  un- 
twisted fibers  are  now  called  "slivers."  From  the  drawing  frame  these 
"slivers"  go  to  the  slubbing  machines  where  it  is  lightly  twisted  and 
wound  on  bobbins.  This  process  is  repeated  on  similar  machines 
each  one  drawing  the  thread  out  and  twisting  it  a  little  more,  until 
it  is  finally  ready  for  spinning. 

Spinning. — Two  systems  of  spinning  are  in  use  at  the  present 
time,  ring  spinning  and  self-acting  mule  spinning.  The  former  is 
done  mostly  by  women  and  children,  and  produces  a  hard,  round 
irregular  yarn.  The  latter  machines,  operated  only  by  men  and  very 
strong  women,  are  complicated,  but  produce  an  exceedingly  soft  and 
fine  yarn. 

The  thread  used  for  sewing  and  for  the  manufacture  of  lace  is 
made  by  twisting  several  fine  threads  together.  Sewing  thread  is 
usually  composed  of  from  six  to  nine  threads  spun  separately  and 


99 


SEWING 


then  twisted  into  one.    Thread  is  sometimes  passed  very  rapidly 
through  a  flame  which  burns  off  the  fuzz  making  it  very  smooth. 

Weaving. — Three  operations  are  necessary  in  the  manufacture  of 
cloth:  First,  the  separation  of  the  warp  threads  on  the  loom,  so  that 
the  shuttle  containing  the  woof  can  pass  through.  Second,  the  move- 
ment of  the  shuttle,  back  and  forth,  among  the  warp  threads.  Third, 
the  beating  up  the  woof. 

FLAX. 

The  fibers  of  flax  are  spun  and  woven  into  a  fabric  called  linen. 
This  is  one  of  the  most  ancient  industries  known  to  man.  Linen  is 
often  mentioned  in  the  Bible  and  the  ancient  Egyptians  wrapped 
their  mummies  in  this  fabric.  It  is  said  that  the  finest  linen  of  the 
present  day  looks  coarse  beside  that  from  the  Egyptian  looms  in  the 
days  of  the  Pharoahs.  The  Hebrew  and  Egyptian  priests  wore  gar- 
ments made  of  this  fine  linen. 

The  Plant. — Flax  grows  from  two  to  three  feet  high,  and  has  a 
blue  flower.  A  field  of  flax  in  blossom  is  very  beautiful. 

While  it  is  grown  extensively  in  many  parts  of  Europe,  Asia  and 
America,  the  soil  and  climate  of  Ireland,  France  and  the  Netherlands 
are  especially  adapted  to  its  growth,  and  it  is  in  these  countries  that 
it  reaches  its  greatest  perfection. 

The  fiber  of  the  bark  is  the  part  of  the  plant  used  in  the  manu- 
facture of  cloth.  Linseed  oil  is  expressed  from  the  seed. 

The  Preparation  of  the  Fiber. — When  the  plant  is  ripe  it  is 
pulled  up  by  the  roots  and  beaten  to  loosen  the  seeds  which  are  then 
shaken  out.  Next  the  stems  are  steeped  in  soft  water  and  afterward 
allowed  to  ferment.  They  are  then  dried  and  passed  between  fluted 
rollers  which  breaks  the  woody  part  of  the  stems  which  are  again 
beaten  to  remove  this  woody  part  from  the  fiber.  The  fiber  is  then 
made  into  bundles  and  sent  to  the  mill  to  be  spun,  where  it  is  first 
roughly  sorted,  the  longest  and  best  portions  being  separated  from 
the  short  raveled  ones.  These  inferior  portions  are  called  "tow." 

100 


TEXTILE       FIBERS       A  N:D  ;;,F 


The  treatment  of  the  flax  fiber  for  spinning  is  similar  to  that  of  the 
cotton  (page  99),  being  drawn  and  twisted  and  drawn  out  again,  re- 
peating this  process  several  times. 

j 

Spinning. — Coarse  and  heavy  yarns  are  spun  dry,  but  fine  yarn 

must  be  spun  wet.  Some  varieties  of  velvet  and  velveteen  are  made 
from  linen.  Much  of  the  so-called  linen  cloth  of  the  present  day  is 
mixed  with  cotton  or  jute.  The  principles  of  weaving  are  the  same  as 
that  of  the  cotton.  See  page  98. 

For  many  centuries  the  weaving  of  linen  was  conducted  as  a 
household  industry.  The  first  attempt  to  manufacture  it  on  a  large 
scale  was  in  England  in  1253.  It  is  now  one  of  the  national  industries. 
Linen  is  bleached  after  it  is  woven.  In  the  olden  times  it  was  spread 
upon  the  grass,  or  lawn,  and  the  action  of  the  sun,  air  and  moisture 
whitened  it,  and  for  this  reason.it  was  called  "lawn,*"'  and  it  is  still  so 
designated.  In  the  modern  process  of  bleaching,  the  linen  is  first 
singed  by  being  passed  rapidly  over  hot  cylinders  which  makes  the 
cloth  smooth.  It  is  then  boiled  in  lime  water,  washed  and  afterwards 
scoured  in  a  solution  of  sulphuric  acid,  exposed  to  the  air  for  a  time 
and  again  scoured.  Lastly,  it  is  boiled  in  soda-lye  water  and  dried 
over  hot  tin  rollers.  The  gloss  on  linen  is  made  by  first  mangling,  then 
starching,  and  finally  running  it  between  heavy  rollers. 

Linen  is  chiefly  manufactured  in  France,  Belgium,  Germany, 
England  and  the  United  States.  France  is  noted  for  the  finest  kinds  of 
lawn  and  cambric,  while  Ireland  excels  in  the  production  of  table  linen. 
The  largest  portion  of  the  sheeting  and  toweling  is  made  in  Scotland. 
The  linen  manufactures  of  the  United  States  consist  principally  of 
toweling  and  twine. 

WOOL. 

Wool  is  the  fleecy  covering  of  sheep.  It  is  distinguished  by  its 
waviness  and  the  scaly  covering  of  the  fibers.  The  scales  are  more 
pointed  and  protrude  more  than  those  of  hair.  This  gives  it  a  ten- 
dency to  mat  or  felt.  The  waviness  of  wool  is  due  to  the  spiral  struc- 
ture of  the  fibers.  Next  to  cotton,  wool  is  the  most  extensively  used 
of  all  the  textile  fibers. 


101 


SEWING 


The  Romans  developed  a  breed  of  sheep  having  wool  of  exceeding 
fineness,  and  later  introduced  their  sheep  into  Spain.  Here  they  were 
still  further  improved,  and  it  was  not  many  years  until  Spain  led  the 
world  in  the  production  of  wool.  The  fine  wooled  Merino  sheep 
originated  here.  Australia  and  the  United  States  are  also  great  wool- 
producing  countries. 

Classification. — There  are  three  classes  of  wool,  classified 
according  to  the  length,  fineness  and  felting  qualities: 

1.  The  carding  or  clothing  wool. 

2.  The  combing  or  worsted  wool. 

3.  The  blanket  or  carpet  wool. 

Wool  on  different  parts  of  the  same  animal  varies  greatly,  that 
on  the  shoulders  being  the  finest  and  most  even.  All  unwashed  wool 
contains  a  fatty  or  greasy  matter  called  yolk  or  suint.  This  keeps  the 
fiber  from  matting  together  and  also  protects  the  fleece  from  injury. 
The  yolk  must  be  removed  before  the  wool  is  manufactured  into 
cloth.  When  the  fleece  is  cut  from  the  body  of  the  sheep  it  sticks 
together  so  that  it  can  be  spread  out  like  the  hide  of  an  animal,  and 
each  fleece  is  tied  in  a  separate  bundle.  A  few  years  ago  sheep  shear- 
ing was  done  by  hand.  This  was  a  busy  time,  especially  on  large 
ranches  where  thousands  of  sheep  were  to  be  sheared  and  it  required 
a  large  crew  to  do  the  work.  It  is  now  accomplished  with  much  less 
time,  labor  and  expense  by  machinery. 

Alpaca  and  Mohair  are  classed  as  wools,  but  the  former  is  pro- 
duced by  the  Alpaca  goat  and  the  latter  by  the  Angora  goat.  Cash- 
mere wool  comes  from  the  Cashmere  goat,  found  in  Thibet,  and  is 
very  costly,  as  only  the  finest  parts  of  the  fleece  are  used.  In  the  far 
eastern  countries  beautiful,  costly  fabrics  are  made  from  the  long 
hair  of  the  camel. 

Preparation. — When  wool  comes  to  the  factory  in  the  raw  state  it 
must  be  scoured.  This  is  done  by  passing  it  through  machines  con- 
taining strong  soap  suds,  and  afterwards  rinsing  it.  After  the  wool 
is  dry  it  is  mixed  or  blended.  Mixing  is  an  operation  of  great  im- 
portance and  is  done  to  make  the  wool  of  uniform  quality.  Portions 

102 


TEXTILE       FIBERS       AND       FABRICS 

of  wool  from  different  lots,  qualities  and  colors  are  placed  in  alternate 
layers  and  blended.  If  it  is  desired  to  mix  other  materials  with  the 
wool,  such  as  silk,  cotton  or  shoddy,  it  is  added  at  this  time. 

The  wool  is  harsh  to  the  touch  after  it  has  been  scoured,  owing  to 
the  removal  of  the  yolk.  To  restore  its  natural  softness  it  is  slightly 
sprinkled  with  oil  during  the  process  of  mixing. 

Carding  and  Spinning. — Theprocessof  carding  produces  a  thread 
having  fibers  projecting  loosely  from  the  main  thread  in  little  ends 
which  form  the  nap  of  the  finished  cloth.  After  it  is  carded  it  is 
wound  on  spools  and  is  ready  for  the  spinning.  In  spinning  the  threads 
are  held  together  by  their  scales  and  the  waviness  of  the  fiber  which 
prevents  them  from  untwisting.  Another  valuable  feature  of  wool  is 
its  elasticity,  which  makes  it  soft  to  the  touch  and  this  is  retained  in 
the  manufactured  goods. 

Woolens. — There  are  two  classes  of  woolen  textiles,  woolens  and 
worsteds,  depending  upon  the  character  of  the  fiber  used,  and  the 
treatment  to  which  it  is  subjected.  The  shorter  varieties  of  wool  are 
used  in  woolens,  while  the  long  fibers  are  combed  out  and  used  for  the 
worsteds.  In  making  woolen  yarns  the  wool  is  simply  carded  and 
very  loosely  spun,  but  in  making  worsted  thread  the  wool  is  combed 
out  and  hard  twisted.  Owing  to  the  nap  of  the  woolen  goods  the 
weaving  is  scarcely  visible,  but  in  the  manufacture  of  worsteds  the 
weave  is  evident  and  a  great  variety  of  designs  is  possible. 

A  variety  of  effects  can  also  be  produced  by  the  character  of  the 
finish.  Among  the  principal  varieties  are: 

1.  The  dress  face  finish,  such  as  broadcloth  and  beaver. 

2.  The  velvet  finish. 

3.  The  Scotch  or  Melton  finish. 

4.  The  bare  face  finish,  which  has  the  nap  completely  sheared 

off. 

While  the  finish  may  differ,  the  general  treatment  of  the  cloth  is 
practically  the  same.  The  first  step  is  called  pulling,  when  the  cloth 
is  soaked  in  hot  water  and  pulled  by  a  pulling  machine.  It  is  soaked, 
pulled  and  beaten  until  it  is  only  half  its  original  length  and  breadth. 


103 


SEWING 


It  is  then  rinsed  and  stretched  on  a  frame  where  it  will  dry  without  a 
wrinkle.  At  this  time  the  nap  is  raised  by  beating  the  cloth  with  the 
spike  head  of  the  teasel  plant  or  its  substitute.  The  pile  or  nap  is  then 
trimmed  so  as  to  present  a  uniform  surface,  when  it  is  wound  tightly 
around  a  huge  drum  and  immersed  in  hot  water.  Finally  it  is  pressed 
in  a  hydraulic  press,  during  which  time  steam  is  forced  through  it. 
This  is  to  give  solidity  and  smoothness  to  the  cloth  and  also  to  add 
luster  to  the  finished  fabric. 


104 


CHAPTER  IX. 
COSTUME 

DRESS  AND  ITS  RELATION  TO  ART 

Art  education  should  bring  to  every  girl  a  greater  appreciation  of 
beauty  and  a  sufficient  knowledge  to  enable  her  to  beautify  her  home 
and  to  dress  herself  becomingly.  This  is  the  real  ''applied  art"  or 
"applied  design"  of  which  we  have  heard  much  but  seen  little. 

The  power  and  skill  necessary  to  originate  an  intricate  and  artistic 
design,  and  a  technical  knowledge  of  color-blending  are  worth  some- 
thing to  the  individual,  but  the  ability  to  apply  this  knowledge  later 
to  the  decoration  of  her  home  and  to  the  selection  of  her  own  clothes 
is  of  vastly  greater  importance. 

An  artist  who  paints  the  human  figure,  draws  and  erases  and  draws 
again,  and  yet  again,  that  the  contour  of  the  form  he  creates  may  be 
right  in  proportion  and  graceful  in  line.  He  studies  his  coloring,  he 
compares,  rejects  and  blends  for  a  particular  shade  or  tint  that 
makes  for  complete  harmony.  No  discordant  note  cf  color  nor  turn 
of  line  that  detracts  from  the  beauty  of  the  whole  is  allowed.  And 
there  are  artistic  makers-of-garments  who  put  into  the  costumes 
they  create  the  same  thought  and  care  that  the  artist  spends  upon 
his  canvas,  but  the  prices  of  both  are  within  the  reach  of  very  few. 
Nearly  every  woman  must  plan  her  own  wardrobe  and  choose  the 
furnishings  for  her  home  and  this  is  what  "Art"  and  "Domestic 
Art"  in  the  public  schools  should  train  the  girl  of  to-day — the  woman 
of  the  future — to  do. 

CHARACTER  AND  CLOTHING. 

Clothing  was  first  designed  in  the  early  ages,  no  doubt,  as  a  cover- 
ing and  protection  to  the  body;  it  has  come,  however,  to  mean  some- 
thing more  than  this.  It  is  an  expression  of  the  character,  the  nicety 
of  taste — or  lack  of  it — the  discrimination  and  judgment  of  the  in- 


105 


SEWING 


dividual.  In  the  selection  of  one's  garments  there  are  a  number  of 
points  which  must  be  taken  into  consideration,  such  as  health  and 
comfort,  cost,  fitness,  color  and  style,  as  well  as  beauty.  And  above 
all,  the  average  woman  must  pause  and  consider  last  season's  gar- 
ments, that  are  too  good  to  be  discarded  and  must  form  a  part  of  this 
year's  wardrobe.  It  is  quite  disastrous  to  plunge  ahead  and  buy  a 
blue  dress,  because  blue  happens  to  be  stylish,  if  the  hat  to  be  worn 
with  it  is  a  green  or  brown  ''left  over." 

While  a  due  regard  to  the  opinions  of  others  demands  a  certain 
conformity  to  the  customs  of  the  time  and  place  in  which  one  lives, 
there  is  always  a  latitude  allowed  which  enables  one  to  exercise  in- 
dividual needs,  taste  and  preference. 

Health  and  comfort  should  take  rank  before  everything  else.  A 
style  which  interferes  with  either  is  an  absurdity  which  anyone  of  good 
sense  will  avoid. 

Neatness  should  be  considered  above  beauty  or  style.  A  soiled 
collar,  hooks,  eyes  and  buttons  missing,  gloves  out  at  finger  ends, 
shoes  dusty  and  unpolished,  braid  hanging  from  the  skirt,  the  waist 
and  skirt  separated  are  all  accidents  which  may  befall  anyone,  but 
are  most  deplorable  when  they  become  chronic. 

It  has  been  wisely  said  that  the  best  dressed  woman  is  she  of 
whose  clothing  one  is  unconscious,  whose  dress  is  neither  conspicuous 
from  extreme  style  nor  too  noticeable  from  a  total  disregard  to  the 
custom  of  the  times.  Good  taste  demands  that  one  be  not  over- 
dressed. Street  and  business  suits  and  young  girls'  school  dresses 
should  be  plain,  well  made  and  neat,  of  subdued  and  becoming  color. 

ECONOMY  AND  DRESS. 

"Costly  thy  habit  as  thy  purse  can  buy,"  wrote  Shakespeare,  and 
the  advice  still  holds  good.  Economy  does  not  consist,  however,  of 
buying  cheap,  shoddy  material.  Trimming  can  be  dispensed  with  to 
the  improvement  of  the  average  garment,  but  a  dress  made  of  good 
cloth  will  outwear,  look  better,  give  greater  self-respect,  and  in  the 
end  cost  less  than  several  dresses  made  of  cheap  stuff,  as  the  cost  of 


106 


COSTUME 


making  is  no  more  for  the  one  than  the  other.  This  is  a  principle  that 
applies  as  well  to  underwear.  Simple  garments,  well  made  of  firm 
fine  cambric  are  much  to  be  preferred  to  those  overtrimmed  with 
cheap  lace  and  sleazy  embroidery. 

DISCRIMINATING  TASTE  IN  DRESS. 

Some  colors  and  styles  are  becoming  to  certain  complexions  and 
forms  and  are  quite  the  reverse  to  others.  A  short  stout  person 
should  avoid  plaids,  while  one  overly  tall  should  never  select  stripes. 
The  lines  of  the  garment  are  equally  important — any  method  of 
trimming  that  gives  length,  the  long  lines  of  the  "princess"  and  the 
"empire"  styles  are  a  boon  to  the  short  figure,  while  the  overskirt, 
the  deep  flounce,  and  the  bands  of  trimming  running  around  the 
skirt,  all  help  to  break  the  long  lines  for  the  tall  woman.  Belts  that 
by  contrast  divide  the  figure  are  not  good  unless  one  wishes  to  shorten 
the  height.  Waists  and  skirts  of  the  same  color  usually  have  more 
style  and  give  better  form. 

Give  careful  heed  to  the  selection  of  color,  not  only  to  the  dress 
but  to  the  accessories,  hat,  gloves,  collar,  belt  and  shoes,  as  well. 
In  fact,  consider  the  costume  as  a  whole  made  up  of  parts,  each  one 
of  which  must  harmonize  with  every  other. 

Before  sewing  machines  were  to  be  found  in  every  home  and 
ready  made  clothing  in  the  stores  styles  did  not  change  so  rapidly. 
Commercial  conditions  now  make  it  to  the  advantage  of  a  great  army 
of  people  that  the  styles  in  dress  change  often  and  radically.  The 
manufacturers  of  cloth,  the  wholesale  merchants  with  their  agents, 
the  retailers  and  their  numerous  clerks,  wholesale  garment-makers 
and  their  many  employes,  pattern-makers,  dress-makers,  milliners 
and  the  manufacturers  of  all  minor  articles  of  clothing  are  all  bene- 
fitted  by  this  oft  recurring  change  in  style.  This  condition  has  come 
about  so  gradually  that  we  hardly  realize  to  what  extent  we  are 
victims  of  trade-tricks.  It  is  not  necessary  nor  desirable  that  woman 
should  enslave  herself  to  follow  all  the  vagaries  of  style. 


107 


CHAPTER  X. 

BASKETRY. 

Basketry  is  one  of  the  oldest  handicrafts  known  to  man,  but  it 
reached  its  greatest  excellence  with  the  tribes  of  American  Indians 
who  wove  baskets  from  the  grasses,  reeds  and  rushes  which  they 
gathered  as  they  wandered  from  place  to  place  in  their  nomadic  life. 
These  materials  were  colored  with  dyes  made  by  cooking  the  bark  of 
certain  trees  and  the  roots  and  bulbs  of  plants,  a  knowledge  of  which 
was  handed  down  from  mother  to  daughter. 

The  designs  were  not  meaningless,  but  represented  by  symbols 
their  prayers  to  the  Deity  for  rain,  success  to  a  war  party,  or  a 
petition  for  favorable  crops.  Or  it  might  be  they  chronicled  the 
victory  over  a  hostile  tribe,  a  maiden's  love  for  a  stalwart  brave,  or  a 
thousand  other  events  of  their  lives  in  conventionalized  symbolic 
form.  The  shape,  size  and  use  varied  as  much  as  the  design. 

The  material  used  by  the  Indians  is  not  available  for  us  but  im- 
ported raffia,  rattan  and  rushes  form  excellent  subsrirates.  Raffia,  a 
product  of  the  Island  of  Madagascar,  is  a  soft,  pliable,  yellowish 
fiber  growing  next  to  the  bark  of  a  species  of  palm  tree.  Rattan  is 
the  product  of  a  kind  of  palm  which  grows  in  India.  It  is  stripped  of 
leaves  and  split  into  round  or  flat  strips  of  different  sizes. 

A  more  instructive  occupation  cannot  be  found  for  children  than 
basketry  and  its  allied  subjects.  It  not  only  is  fascinating  in  itself, 
but  develops  patience,  judgment,  dexterity  and  skill,  and  embodies 
the  satisfaction  of  making  a  beautiful  and  useful  article.  It  is  not 
only  an  educative  occupation  for  school,  but  for  the  home  as  well. 

Baskets  are  known  as  the  woven  baskets  made  of  the  round  or 
flat  rattan  and  the  sewed  baskets  made  from  the  raffia  and  reeds. 

GENERAL  DIRECTIONS  FOR  MAKING  THE  COIL  BASKET. 
Preparation  of  Materials. — Round  reeds  are  sold  in  sizes  from 
the  very  fine  Number  0  to  the  coarse  Number  8.    Hemp  cord  of  differ- 
ent sizes  may  be  substituted  for  the  reeds  if  a  flexible  basket  is  desired. 

108 


BASKETRY 


Beginning  about  two  inches  from  one  end  of  the  reed,  sharpen  to 
a  flat  point.  Coil  the  other  end,  leaving  ten  or  fifteen  inches  uncoiled, 
and  tie  with  raffia  two  or  three  times.  Soak  the  reeds  in  water  until 
very  pliable,  then  remove  and  wipe  dry  before  using.  The  raffia  may 
be  used  wet  or  dry  as  one  prefers.  It  may  be  used  in  coarse  strands 
for  the  large  baskets  or  split  to  any  size  desired  for  the  finer  stitches, 


BEGINNING    A    BASKET    IN    ANY    WEAVE. 

1  —  The  reed  sharpened  to  a  flat  point. 

The  end  of  the  sharpened  reed  wound  with  rafRa. 
3  —  The  end  of  the  reed  curled  into  a  small  "button." 
4 —  Splicing  reeds  by  cutting  both  to  a  flat  point. 


but  should  be  kept  uniform.  The  basket  sewing  requires  either  the 
sharp  or  blunt  tapestry  needle,  varying  in  size  between  Number  18 
and  Number  22.  Thread  the  end  of  the  raffia  that  has  been  cut  from 
the  tree  into  the  needle,  thus  working  with  the  fiber,  as  it  is  less  liable 
to  split.  Much  of  the  beauty  of  the  basket  will  depend  upon  the 
smoothness  and  neatness  of  the  work. 

Beginning   the   Basket. — Baskets   may   be   classified  as  round 
or  oval. 


109 


SEWING 


A.    THE  ROUND  BASKET. 

Draw  the  sharpened  end  of  the  pliable  reed  between  the  thumb 
and  finger  into  the  smallest  possible  coil.  Lay  the  end  of  the  raffia  to 
the  point  and  along  the  sharpened  end  of  the  reed  and  hold  it  in  place 
with  the  left  hand.  By  a  sharp  turn  in  the  thread  begin  winding  over 
the  reed  and  raffia  to  the  point.  Then  shape  into  the  coil  by  sewing 
through  the  center,  thus  forming  the  "button"  as  in  the  illustration. 


BASKETS    BEGUN    IN    THREE    DIFFERENT    WEAVES. 

1  —  Round  basket  in  the  Navajo  weave. 

2  —  Oval  basket  in  the  Lazy  Squaw  weave. 
3 —  Round  basket  in  the  Mariposa  weave. 


B.   THE  OVAL  BASKET. 

The  end  of  the  reed  is  not  sharpened,  and  must  "be  very  soft  and 
pliable,  or  it  cannot  be  bent  together  at  the  desired  length,  two,  three, 
four,  five  or  more  inches  from  the  end,  without  breaking.  It  will  do 
no  special  harm  if  it  splits,  however,  as  it  is  to  be  covered  with  the 
raffia.  Lay  the  end  of  the  raffia  to  the  end  of  the  reed,  along  the  reed 
and  around  the  bend,  and  by  a  sharp  turn  in  the  thread  wind  four  or 
five  times  over  the  raffia,  covering  the  bend  in  the  reed.  The  two 


110 


BASKETRY 


reeds  may  then  be  caught  together  by  the  stitch  selected  for  the 
basket,  or  the  "Navajo"  or  "figure  eight  stitch'*  may  be  used  and 
the  other  stitch  introduced  on  the  second  round. 

Splicing  the  Reed. — As  the  reed  naturally  coils  somewhat,  take 
care  to  splice  it  so  that  the  coil  in  the  two  pieces  remains  the  same; 
otherwise  it  would  draw  apart.  Sharpen  the  top  side  of  one  reed  and 
the  underside  of  the  other  to  a  long  flat  point  and  slip  one  past  the 
other  until  the  two  together  form  the  uniform  size  of  the  reed.  It  is 
sometimes  advisable  for  a  novice  to  wind  the  spliced  reeds  with  fine 
thread,  but  experience  will  teach  one  to  do  the  splicing  with  the  sew- 
ing of  the  basket. 

Splicing  the  Thread. — When  a  new  thread  is  needed  lay  the  end 
of  the  old  thread  along  the  reed  and  place  the  new  thread  over  it, 
and  by  a  sharp  turn  in  the  thread,  wind  once  or  twice  over  both,  and 
continue  the  stitch  as  before.  When  the  ends  are  firmly  fastened 
clip  them  ofF. 

Shaping  the  Basket. — Coiled  basketry  admits  of  the  greatest 
variety  in  shape  and  size,  from  the  simple  table  mat  to  the  exquisitely 
beautiful  jar  and  vase  forms,  while  the  stitches  lend  themselves  to 
an  endless  variety  of  design  ranging  from  the  simplest  to  the  most 
intricate  patterns. 

It  is  well  to  have  in  mind  the  shape  and  design  before  beginning 
the  basket,  as  haphazard  work  is  not  apt  to  be  satisfactory.  Baskets 
can  be  easily  shaped  to  any  desired  form,  as  this  depends  entirely 
upon  the  position  of  each  succeeding  reed  upon  the  one  below  it. 

Introduction  of  Color. — All  reeds  in  the  coiled  basket  are  wound 
twice  with  the  raffia.  It  is  important  to  keep  this  in  mind  when 
putting  in  designs.  The  colored  raffia  is  introduced  in  the  same 
manner  that  the  thread  is  spliced,  by  laying  it  along  the  reed  and 
sewing  over  it.  When  working  out  designs  in  color  do  not  cut  the 
thread  when  changing  from  one  to  another,  but  lay  the  thread  not 
in  use  along  the  reed  and  sew  over  it,  bringing  it  out  when  ready  to 
use  it  again. 


Ill 


SEWING 


112 


BASKETRY 


As  an  aid  in  dividing  the  space  for  a  design  a  piece  of  paper  may 
be  cut  and  folded  into  the  desired  number  of  sections,  and  these 
marked  on  the  basket.  These  spaces  are  then  filled  in  without 
regard  to  the  exact  number  of  stitches  required  to  cover  the  reeds. 

Beginners  should  make  a  study  of  Indian  baskets  and  their  designs. 


BASKET    SHOWING   THE    NAVAJO    WEAVE. 

Finishing  the  Basket. — Cut  the  end  of  the  reed  to  a  flat  point 
two  inches  in  length,  and  gradually  taper  the  stitching  off  so  that  it 
shows  where  it  ends  as  little  as  possible.  The  last  two  rows  of  the 
basket  might  be  stitched  with  colored  raffia  unless  it  detracts  from 
the  design. 

DESCRIPTION  OF, BASKET  STITCHES 

The  stitching  proceeds  along  a  continuous  coil,  so  that  each  stitch 
is  passed  beneath  the  stitches  of  the  coil  beneath. 


113 


SEWING 


For  convenience  in  analyzing  these  stitches  the  two  reeds  may  be 
designated  as  the  loose  reed  and  the  fastened  reed. 

The  Navajo  Stitch  (Figure  Eight). — Hold  the  commenced  coil 
in  the  left  hand  which  will  cause  the  work  to  proceed  from  the  right 
toward  the  left. 

(a)  Pass  the  thread  between  the  two  reeds  toward  you,  (b)  over 
the  loose  reed  from  you,  (c)  between  the  two  reeds  toward  you,  (d) 


BASKET    SHOWING   THE    LAZY-SQUAW    WEAVE. 


down  between  the  stitches  of  the  fastened  reed  from  you,  and  begin- 
ning again  at  (a)  pass  the  thread  between  the  two  reeds  toward  you 
completing  the  figure  eight.  Draw  the  two  reeds  firmly  together. 

This  is  the  stitch  used  by  the  Indians  in  making  the  baskets  which 
they  ornamented  with  feathers,  wampum,  shells  and  beads. 

The  Lazy-Squaw  Stitch. — This  stitch  is  made  up  of  two  parts, 
a  long  and  a  short  stitch. 


114 


BASKETRY 


Hold  the  commenced  coil  in  the  left  hand  and  work  from  right  to 
left,  (a)  Wrap  the  thread  toward  you  over  and  around  the  loose 
reed  once,  (b)  then  over  the  loose  reed  again,  (c)  and  down  from  you 
between  the  stitches  of  the  fastened  reed  and  back  to  (a).  This 
completes  the  long-and-short  stitch. 


BASKET    SHOWING   THE    MARIPOSA    WEAVE. 


The  story  of  the  origin  of  the  name  "Lazy-Squaw"  stitch  is  inter- 
esting. If  the  squaw  was  inclined  to  slight  her  work  she  would  wrap 
the  loose  reed  several  times  before  taking  the  long  and  more  difficult 
stitch  which  bound  the  two  reeds  together.  She  would  then  receive 
from  her  companions  the  ignominious  title  of  "lazy-squaw." 

As  a  modification  of  this  stitch  the  wrapping  of  the  loose  reed  is 
omitted,  and  the  long  stitch  only  is  used.  This  passes  each  time 
between  the  stitches  of  the  coil  beneath. 


115 


SEWING 


The  Mariposa  Stitch  (Knotted). — In  analyzing  this  stitch  we 
find  that  it  is  made  up  of  three  parts.  It  is  the  same  as  the  Lazy 
Squaw  Stitch  with  the  addition  of  the  knotted  effect  obtained  by 
passing  the  thread  around  the  long  stitch. 

Hold  the  commenced  coil  in  the  left  hand  and  work  from  right  to 
left,  (a)  Wrap  the  thread  toward  you  over  and  around  the  loose  reed 
once,  (b)  then  over  the  loose  reed  again,  (c)  and  down  from  you 
between  the  stitches  of  the  fastened  reed,  thus  binding  the  two  reeds 
together,  (d)  bring  the  needle  up  between  the  two  reeds  at  the  left 
side  of  the  long  stitch,  (e)  cross  over  this  stitch,  going  down  between 
the  two  reeds  at  the  right  of  the  long  stitch.  Bring  the  thread  over 
the  loose  reed  and  begin  wrapping  again  as  at  (a). 

The  Sarnoan  Stitch  (Lace  Effect). — Baskets  that  are  to  be 
lined  are  very  pretty  made  of  this  stitch.  It  is  also  very  effective 
combined  with  other  stitches,  or  as  the  finishing  coil  of  a  basket. 

The  Samoan  Stitch  is  a  modification  of  the  Mariposa  Stitch,  the 
only  difference  being  in  the  space  between  the  reeds  and  the  passing 
of  the  thread  around  the  long  stitch  two,  three  or  more  times,  which 
gives  the  lace  effect.  The  reeds  must  be  held  firmly,  however,  and 
the  thread  passed  around  the  long  stitch  times  enough  to  make  the 
basket  firm. 


116 


Sewing   Kits  for  Sewing    Classes 

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